THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


Handbook  of  Paintings 

| BY  THE  OLD  MASTERS  | 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/handbookofpaintiOOdetr 


JAMES  E.  SCRIPPS,  Esq. 

Donor  of  the  James  E.  Scripps’  Collection  of  Old  Masters 


HANDBOOK 


O F 

PAINTINGS 

BY  THE  OLD  MASTERS 

BELONGING  TO  THE 

Detroit  Museum  of  Art 


19  10 


M 


THE  J.  PAUL  GETTY  MUSEUM  LIBRARY 


PREFACE 


In  the  following  catalogue  will  be  found  a description  of 
the  paintings  by  and  attributed  to  the  old  masters,  or  pictures 
painted  before  the  beginning  of  the  19th  century.  With  the 
exception  of  the  first  picture  in  the  catalogue,  which  is  given 
prominence  as  the  first  work  of  art  acquired  by  the  Detroit 
Museum  and  from  its  having  been  a gift  from  Pope  Leo  XIII., 
the  old  masters  are  arranged  in  chronological  order,  as  they 
appeared  in  a former  catalogue  issued  in  1889. 

It  is  believed  that  by  a careful  study  of  this  catalogue  in 
connection  with  the  pictures  the  educational  value  of  the 
collection  will  be  greatly  enhanced. 

In  order  to  encourage  this  the  price  of  the  catalogue  has 
been  put  at  the  small  sum  of  ten  cents. 


Detroit,  August  1st,  1910. 


INTRODUCTORY 


THE  JAMES  E.  SCRIPPS’  COLLECTION  OF 
OLD  MASTERS 

Presented  to  the  Museum  in  1889 


The  Scripps  Collection  of  Old  Master  Paintings  were  per- 
sonally selected  by  the  late  Janies  E.  Scripps.  Their  acquisi- 
tion involved  a great  amount  of  time  and  labor  covering  a 
period  of  four  years.  In  the  early  efforts  to  obtain  worthy 
collections  for  the  Detroit  Museum  of  Art — then  an  infant 
institution, — he  turned  his  mind  to  perhaps  the  largest  field 
of  any  at  that  time,  and  tried  to  get  representative  works  of 
the  early  Italian,  Spanish,  Flemish,  Dutch  and  French  schools. 
Unlike  many  collectors,  Mr.  Scripps  showed  no  preference 
for  any  one  school  or  a few  favorite  masters,  but  secured 
examples  of  those  men  and  schools  (where  they  were  obtain- 
able) as  would  be  of  the  highest  value  historically.  His 
selection  shows  examples  of  great  men  and  their  schools,  and 
the  pictures  fairly  portray  the  methods,  coloring  and  general 
qualities  possessed  by  those  men  who  have  made  the  history 
of  painting. 

There  is  much  incredulity,  naturally,  as  to  the  authenticity 
of  a collection  of  this  kind,  especially  in  the  Italian  and 
Spanish  masters  whose  work  so  seldom  received  their  signa- 
tures, and  coming  from  an  age  when  the  works  of  pupils  were 
often  copies  of  the  paintings  by  the  master.  This  skepticism 
grows  stronger  every  year  owing  to  the  grist  of  spurious 
paintings  both  old  and  modern  which  have  of  late  years 
deceived  even  the  best  connoisseurs  and  critics.  But  this 
collection  was  brought  together,  it  must  be  remembered, 
over  twenty  years  ago,  when  old  masters  were  not  sought 
with  so  much  rivalry. 

There  are  only  two  ways  of  determining  with  any  accuracy 
the  genuineness  of  the  old  masters;  one  is  the  opinions  of 
experts, — men  who  have  made  so  close  a study  of  painting 
that  there  is  no  doubt  as  to  their  judgment  in  passing  upon 
these  works  of  art;  the  other  and  surer  means  of  determining 
the  authenticity  of  one  of  these  works  is  to  trace  its  past 
history.  Books  contemporary  with  the  artist,  and  often 
records  left  by  the  artists  themselves,  make  it  possible  to 
trace  some  of  these  works  from  the  very  day  they  left  the 
artist’s  easel. 

Almost  without  exception  the  James  E.  Scripps  collection 
bears  this  latter  test  of  authenticity.  A painting  more  than 
any  other  household  article  is  an  heirloom,  remaining  in  one 
family  for  centuries.  By  this  fortunate  circumstance  of  few 
changes  in  possession  it  is  easy  to  trace  the  past  history  of  a 
genuine  work  of  art.  Many  of  them  have  undergone  the  close 
and  professional  scrutiny  of  the  expert  as  well. 


THE  SPIRITUAL  BETROTHAL  OF  ST.  CATHERINE  OF  ALEXANDRIA  WITH  THE  INFANT  JESUS 
School  of  Northern  Italy  of  the  XVI.  Century 
Gift  of  His  Holiness  Pope  Leo  XIII. 


OLD  MASTERS 


1 SCHOOL  OF  NORTHERN  ITALY  OF  THE  lGth  CEN- 
TURY.  Painter  unknown.  [NOTE.— The  inscription  placed  upon 
it  attributing  it  to  the  band  of  Fra  Paolino,  was  the  result  of  much  careful  re- 
search by  the  late  Richard  Storrs  Willis,  and  is  believed  to  be  reasonably  correct.  ] 


The  Spiritual  Betrothal  of  St.  Catherine  of  Alexandria  with 
the  Infant  Jesus;  representing  symbolically  the  mystic 
union  between  Christ  and  the  Church.  In  the  center  sits 
the  Blessed  Virgin  in  a light  red  tunic  and  blue  mantle, 
facing  to  the  right,  with  her  right  hand  uplifted,  while 
with  her  left  she  holds  the  Infant  Jesus,  seated  on  a 
cushion,  upon  her  lap.  The  latter  is  nude  but  for  a veil 
lightly  thrown  over  his  left  shoulder.  In  his  right  hand 
he  holds  a ring.  St.  Catherine,  in  a rich  robe  and  coronet 
of  pearls,  stands  or  kneels  at  the  right  with  bowed  head. 
She  presents  her  right  hand  to  the  Savior,  her  left  being 
pressed  to  her  breast.  Behind  her  stands  St.  Joseph  in 
meditation,  leaning  upon  his  staff.  At  the  left  of  the  Vir- 
gin stands  St.  Anthony  of  Padua,  in  the  brown  garb  of  the 
Franciscan  order,  the  nimbus  about  his  head,  and  a bunch 
of  lilies  in  his  hand. 

St.  Catherine,  according  to  the  legend,  was  an  Egyptian 
princess  of  great  beauty  and  learning  who  lived  in  the 
third  century.  When  14  years  of  age,  by  the  death  of  her 
father,  she  became  queen.  Being  pressed  to  marry  she 
set  her  heart  on  the  highest  perfection  to  be  found  in  a 
husband.  At  this  juncture  a hermit  gave  her  a picture  of 
the  Blessed  Virgin  and  her  Son,  for  the  latter  of  whom 
she  was  immediately  filled  with  love.  Later  she  dreamed 
that  she  was  espoused  to  the  Savior,  and  on  awaking  in  the 
morning  found  upon  her  finger  a betrothal  ring.  She  suf- 
fered martyrdom  in  A.  D.  307. 

St.  Anthony  of  Padua  was  born  in  Portugal  and  joined 
the  Franciscan  order  during  the  life-time  of  its  founder. 
He  was  a young  man  of  great  learning  and  eloquence.  He 
died  in  Padua  in  A.  D.  1231.  His  appearance  in  the  same 
picture  with  St.  Catherine,  who  lived  900  years  earlier,  is 
one  of  those  anachronisms  so  common  with  the  older 
painters.  He  is  always  represented  as  a youthful  monk, 
and  the  lily  is  his  special  emblem. 

This  picture  is  painted  on  canvas  and  is  36  inches  high  by 
51  long.  It  was  acquired  by  the  Detroit  Museum  of  Art  in 
this  way:  In  1883  when  preparations  were  making  for  the 


10 


DETROIT  MUSEUM  OF  ART 


great  art  loan  exhibition  of  that  year,  Richard  Storrs  Willis, 
through  clerical  friends,  solicited  of  His  Holiness  Pope  Leo 
XIII.  the  contribution  of  a picture  from  the  Vatican.  In 
response  this  one  was  received  with  the  Pope’s  blessing.  It 
was  then  in  an  old  and  inferior  frame,  and  sadly  needed 
cleaning.  Some  time  later  the  leading  Catholics  of  Detroit 
made  up  a subscription  with  which  to  provide  for  it  the  hand- 
some frame,  enriched  above  with  the  papal  arms,  which  now 
surrounds  it.  At  the  same  time  the  late  Lewis  T.  Ives  care- 
fully cleaned  the  canvas,  developing  a brilliancy  little  before 
expected. 

Various  conjectures  as  to  the  name  of  the  painter  have 
been  hazarded,  but  all  that  can  be  said  about  it  with  certainty 
is  that  it  was  painted  in  Northern  Italy  (perhaps  Padua)  by 
some  artist  influenced  both  by  Correggio  and  Titian. 


BYZANTINE  SCHOOL  OF  THE  13th  CENTURY.  The 
artists  of  Constantinople,  driven  to  seek  new  fields  by 
the  opposition  to  pictures  inculcated  by  the  Greek 
Church,  found  an  asylum  in  the  monasteries  of  Italy, 
where  they  pursued  their  art.  From  this  beginning 
sprang  the  famous  revival  of  art  in  Italy  which  culmi- 
nated in  the  15th  century.  These  Byzantine  paintings 
are  always  on  wood,  usually  cut  to  a convex  surface, 
and  are  always  on  a gold  ground. 

2 St.  Mercurius.  He  wears  a rich  velvet  tunic  with  flowing 
gold  chlamys,  and  is  armed  with  a sabre,  bow  and  arrows, 
and  a small  round  shield.  The  name  of  the  subject 
appears  on  the  small  red  disc  in  the  right  upper  corner 
in  Greek  characters. 

St.  Mercurius  was  an  officer  in  the  service  of  the 
Emperor  Julian,  the  Apostate,  by  whom  he  was  put  to 
death  for  his  loyalty  to  the  Christian  faith.  On  the  eve 
of  the  battle  with  the  Persians  in  which  Julian  lost  his 
life,  St.  Basil  the  Great  had  a vision  in  which  the  Virgin 
Mary  appeared  to  him  and  bade  him  go  to  the  tomb  of 
Mercurius  and  awaken  him  that  he  might  slay  the  apos- 
tate. On  reaching  the  tomb  he  found  the  body  missing, 
also  the  arms  which  had  been  laid  by  his  side.  The  next 
day  he  again  visited  the  tomb,  when  he  found  the  body  at 
rest  in  its  place,  but  the  lance  freshly  stained  with  blood. 
It  then  transpired  that  in  the  course  of  the  battle  an 
unknown  warrior,  bareheaded,  pale  and  ghastly,  and 
mounted  on  a white  horse,  charged  at  Julian,  and  having 
pierced  him  through  the  body  vanished  as  suddenly  as  he 
had  appeared. 

Size:  h.  8%  in.,  w.  6%  in.  Presented  by  J.  E.  Scripps, 

Oct.,  1889. 


COPYRIGHT  BY  DETROIT  PUBLISHING  CO. 


THE  VIRGIN  ADORING  THE  INFANT  SAVIOR 
By  Alessio  Baldovinetti  (1368-1448)  Early  Florentine  School 
Presented  by  James  E.  Scripps.  Esq. 


12 


DETROIT  MUSEUM  OF  ART 


GIOTTO  DI  BONDONE  (attributed  to)  Early  Florentine 
School.  Giotto  (pronounced  Jotto)  was  born  in  1276  and 
died  in  1336.  He  was  originally  a shepherd  boy.  He  was 
discovered  drawing  a sheep  upon  a slab  of  stone  by 
Cimabue,  who  took  him  home  and  gave  him  lessons  in 
painting,  in  which  art  he  soon  excelled  his  master.  He 
became  the  greatest  painter  of  his  century.  He  was  an 
architect  also,  and  designed  the  beautiful  bell  tower  of 
the  cathedral  at  Florence,  still  known  as  Giotto’s  tower. 

3 A small  triptych  Altar-piece.  Center  compartment,  the 
Madonna  and  child  enthroned  under  a baldacchino;  at  the 
right  a female  saint  with  book  and  palm;  at  the  left  a male 
saint  with  slender  cross.  Above,  on  either  side  of  the 
throne,  another  female  saint.  Left  wing:  the  nativity  and 
angel  appearing  to  the  shepherds.  Right  wing:  the  cru- 
cifixion. In  the  angles  of  the  wings,  the  annunciation, 
both  the  angel  and  the  Virgin  sitting.  The  predella  con- 
tains dragons  in  small  quatrefoil  panels. 

Wood:  Center  compartment,  h.  18%  in.,  w.  8%  in.  From 

the  collection  of  the  Marchese  del  Turco  at  Florence,  where 
it  had  for  some  generations  been  esteemed  a genuine  work  of 
Giotto.  Presented  by  J.  E.  Scripps. 


ALESSIO  BALDOVINETTI  (1368-1448)  Early  Florentine 
School. 

4 The  Virgin  adoring  the  Infant  Savior.  The  latter  lies  in 
the  foreground  with  his  head  on  a cushion.  The  Virgin 
stands  at  the  right,  with  her  hands  folded  as  in  prayer, 
gazing  down  upon  the  child.  At  the  left  is  the  infant 
John  the  Baptist  with  a coat  of  skins  and  a small  cross. 
The  heads  of  all  three  are  encircled  with  nimbuses  of  gold. 
Two  other  child  heads  are  peeping  from  between  the 
principal  characters.  The  Holy  Ghost  is  descending  from 
above  in  form  of  a dove,  and  a broken  pomegranate,  the 
symbol  of  eternal  life,  lies  on  the  ground  at  the  right. 

Wood,  arched:  h.  28%  in.,  w.  1G  in.  From  the  collection  of 
the  Tassi  family,  Florence.  Presented  by  J.  E.  Scripps. 


FLEMISH  SCHOOL  OF  THE  15th  CENTURY.  Painter 
unknown,  but  the  delicately  shaded  face  of  the  mother, 
the  peculiarly  shaped  eyes  and  the  long,  slender  fingers 
suggest  the  style  of  Roger  Van  der  Weyden  (140(T1464). 

5 The  Virgin  in  a black  velvet  dress,  with  a rich  jeweled 
necklace  and  a blue  mantle,  holds  the  infant  Savior  on 
her  right  knee.  Her  right  hand  supports  the  child,  while 


THE  VIRGIN  AND  INFANT  JESUS 

Flemish  School  of  the  15th  Century  Suggests  the  style  of  Roger  Vander  Weyden 
Gift  of  James  E.  Scripps,  Esq. 


COPYRIGHT  BY  DETROIT  PUBLISHING  CO. 


14 


DETROIT  MUSEUM  OF  ART 


with  her  left  she  presents  him  with  a red  rose.  The 
infant,  in  a single  garment  of  white,  holds  a rosebud  in 
his  right  hand  and  extends  the  other  to  receive  the 
proffered  flower.  Ground  of  interlaced  work  of  gold  and 
color. 

Wood:  h.  20%  in.,  w.  13%  in.  Purchased  in  Cologne.  Pre- 
sented by  J.  E.  Scripps. 


HUGO  VAN  DER  GOES  (1405-1480),  Pupil  of  Jan  Van 
Eyck.  Early  Flemish  School. 

6 The  Virgin,  seated  on  a marble  throne  under  an  open 
portico,  holds  the  Infant  Savior  on  her  right  knee.  She 
holds  a book  in  her  left  hand,  the  leaves  of  which  the 
child  turns  over.  She  wears  a rich  dark  velvet  dress  with 
an  ample  red  mantle.  The  child  wears  a simple  garment 
of  white.  The  heads  of  both  are  surrounded  by  nimbuses 
of  gold  rays,  those  of  the  child  taking  the  form  of  a cross. 
In  the  background  is  seen  a Flemish  street,  with  churches 
and  chateaux,  and  three  small,  figures  walking. 

Wood:  h.  27%  in.,  w.  22  in.  From  the  private  collection  of 
a former  director  of  the  Uflizi  Gallery,  Florence.  Presented 
by  J.  E.  Scripps. 

FRA  FILIPPO  LIPPI  (1406[?]-1469)  (attributed  to.)  Flor- 
entine School.  Lippi  was  a monk,  but  gave  up  the  cloister 
to  live  with  a nun  whom  he  abducted  from  her  convent 
in  1459.  His  artistic  talents  procured  him  immunity  for 
the  offense.  He  is  reckoned  one  of  the  greatest  of  the 
Italian  painters. 

7 The  Virgin  stands  holding  the  infant  Savior  on  her  left 
arm.  She  is  clad  in  a red  tunic  and  blue  mantle,  and  has 
a nimbus  of  gold  about  her  head.  The  child  has  one  of 
red  with  three  gold  discs,  suggesting  the  cross.  Two 
saints  stand  one  on  either  side  in  attitudes  of  adoration. 

Wood:  Arched,  h.  19%  in.,  w.  14  in.  Purchased  of  Luigi 
Pisani,  Florence.  Presented  by  J.  E.  Scripps. 

TOMMASO  GUIDI  (called  MASACCIO)  (1401-1428)  Floren- 
tine School.  He  is  best  known  by  his  frescoes  in  the 
Carmine  Church,  Florence. 

8 Portrait  of  a man,  supposed  to  be  of  the  artist  himself. 
Monogram  at  right  upper  corner  composed  of  the  letters 
A.  F.  P.  C.,  followed  by  the  letters  A.  S.  M. 

Wood:  h.  15%  in.,  w.  11%  in.  From  the  collection  of  the 
Marchese  Caruana,  Florence.  Presented  by  J.  E.  Scripps. 


PAINTINGS  BY  THE  OLD  MASTERS 


15 


THE  VIRGIN  AND  CHILD 
By  Fra  Filippo  Lippi  ( 14061?] -1469)  Florentine  School 
Gift  of  James  E.  Scripps,  Esq. 


SANO  DI  PIETRO  (attributed  to)  Sienese  School  of  the 
15th  Century. 

9 The  Coronation  of  the  Virgin.  On  a gold  ground  we  see 
a marble  throne  upon  which  Christ  and  the  Virgin  are 
seated.  The  former  places  a crown  upon  the  latter’s  head, 
who  receives  it  with  humility.  On  either  side  an  adoring 
angel.  A winged  cherub  head  above  in  a raised  trefoil. 
Below  are  four  saints.  At  the  left  St.  Peter  with  book  and 
keys,  and  next  him  St.  John  the  Baptist,  with  cross,  scroll 
and  garment  of  skins.  On  the  right  is  St.  Paul  with  sword 
and  scroll,  and  by  him  another  aged  saint  with  small  cross 
and  book.  Under  the  picture  is  the  Latin  inscription. 


16 


DETROIT  MUSEUM  OF  ART 


PORTRAITS  OF  AN  ITALIAN  NOBLEMAN  AND  HIS  WIFE 
By  Giovanni  Bellini  (1428-1516)  Founder  of  the  Venetian  School 

Presented  by  James  E.  Scripps,  Esq. 

GIOVANNI  BELLINI  (1428-1516),  Founder  of  the  Venetian 
School  and  instructor  of  Titian.  His  finest  works  are  his 
madonnas,  found  in  several  of  the  churches  of  Venice. 

10  Portraits  of  an  Italian  nobleman  and  his  wife,  with  the 
names  of  the  subjects  inscribed  on  tablets  suspended 
above.  These  are  only  partly  legible;  they  read  “Joanes 
Paulus  & Aug  . . . nis,”  the  dots  representing  the 

illegible  characters. 

Canvas:  h.  15  in.,  1.  21%  in.  From  the  collection  of  Henry 
Wilkinson,  of  Enfield;  England.  Presented  by  J.  E.  Scripps. 


“Veni  de  Libano  ...  Coronaberis,”  a quotation  from 
the  Vulgate,  Canticle  of  Canticles,  Chap.  IV.,  ver.  8,  trans- 
lated, “Come  from  Libanus,  thou  shalt  be  crowned.”  Still 
below  this  is  a predella,  or  base,  on  which,  upon  three 
medalions  appear:  right,  Mary  Magdalene;  center,  Christ 
rising  from  a sarcophagus;  left,  the  Virgin  Mary. 

Wood,  Gothc  arched:  h.  34%  in.,  w.  20%  in.  Purchased  in 
Siena.  Presented  by  J.  E.  Scripps. 


COPYRIGHT  BY  DETROIT  PUBLISHING  CO. 


PAINTINGS  BY  THE  OLD  MASTERS 


17 


LEONARDO  DA  VINCI  (1452-1519)  (attributed  to).  Lom- 
bard School.  Leonardo  worked  in  Milan,  Florence  and 
Rome.  He  ranks  with  Raphael,  Michelangelo,  Titian  and 
Correggio  as  one  of  the  five  greatest  of  the  Italian 
painters.  His  best  known  work  is  the  fresco  of  the  Last 
Supper  at  Milan. 

11  Salvator  Mundi  (The  Savior  of  the  World).  He  is  repre- 
sented with  long  curling  hair  parted  in  the  middle,  and 
short  beard.  The  right  hand  is  raised  in  the  act  of  bless- 
ing and  the  left  holds  a crystal  globe.  He  wears  a jeweled 
robe. 

Wood:  h.  26  in.,  w.  19  in.  This  picture  is  reputed  to  have 
belonged  to  the  Kings  of  France  down  to  the  time  of  the 
revolution  of  1789.  It  was  later  purchased  from  a French 
gentleman  by  a Mr.  Parke,  who  died  in  1821,  and  in  whose 
family  it  subsequently  long  remained.  In  1889  it  was  sold  at 
Christie’s,  in  London.  Presented  by  J.  E.  Scripps. 


BERNARDO  PINTURICCHIO  (1454-1513)  (attributed  to). 
Umbrian  School.  His  most  famous  works  are  the  fres- 
coes in  the  library  of  the  Cathedral  of  Siena. 

12  The  Marriage  of  the  Virgin.  According  to  the  legend  when 
Mary  was  14  years  old  an  angel  instructed  the  priest 
Zacharias  to  call  together  all  the  widowers  among  the 
people  and  require  each  to  bring  his  rod.  The  several 
rods  were  deposited  in  the  temple  over  night,  and  next 
morning  that  of  Joseph  was  found  to  have  budded  and 
flowered.  He  was  accordingly  assigned  as  the  husband  of 
Mary  and  all  the  others  broke  their  rods  in  despair. 

Canvas:  h.  2414  in.,  1.  4014  in.  Presented  by  J.  E.  Scripps. 

QUENTIN  MASSYS  ( 1460 [ ?]-1530) . Connecting  link  be- 
tween the  early  and  later  Flemish  schools.  Massys  was 
a blacksmith  by  trade,  and  a highly  ornamental  well- 
pagoda  of  his  work  is  still  to  be  seen  in  the  square  in 
front  of  the  cathedral  at  Antwerp.  In  order  to  ingratiate 
himself  into  the  favor  of  a painter  whose  daughter  he 
wished  to  marry  he  took  up  painting  and  with  great 
success.  His  best  known  works  are  subjects  taken  from 
common  life,  as  his  celebrated  picture  known  as  the 
Misers  in  Windsor  Castle. 

13  The  Virgin  seated  in  the  open  air,  with  fawn  colored  dress, 
fur  cuffs,  red  mantle  and  white  head  dress,  holds  the 
Infant  Jesus  on  her  left  knee.  The  child  embraces  the 
mother  with  animation.  A peach  and  bunch  of  grapes  on 


18 


DETROIT  MUSEUM  OF  ART 


a ledge  in  the  foreground.  Background  a rocky  land- 
scape with  castle  and  city  at  the  right,  and  minute  figures 
walking  in  a public  square. 

Wood:  h.  21%  in.,  w.  15%  in.  From  the  private  collection 
of  Signor  Casa  Murata,  director  of  the  Pitti  Palace  Gallery, 
Florence,  under  the  last  Grand  Duke  of  Tuscany.  Presented 
by  J.  E.  Scripps. 


COPYRIGHT  BY  DETROIT  PUBLISHING  CO. 


THE  VIRGIN  AND  INFANT  JESUS 
By  Quentin  Massys  (14601?] -1530)  Flemish  School 

Gift  by  James  E.  Scriaps,  Esq. 

14  The  Misers  (a  replica  of  the  picture  in  Windsor  Castle). 
In  a wainscoted  room  we  see  two  aged  persons  sitting 
before  a table,  the  one  at  the  left  writing  in  an  account 
book,  the  other  leaning  the  right  arm  on  the  shoulder  of 
the  first.  Before  them  they  have  a heap  of  gold  and  silver 
coins  and  jewelry,  also  a portable  inkstand  with  a cord  fof 


THE  MISERS 

By  Quentin  Massys  ( 1460 [ ?J -1530)  Flemish  School 

Gift  of  James  E.  Scripps,  Esq. 


20 


DETROIT  MUSEUM  OF  ART 


carrying  it,  and  a curious  leather  pouch  with  compart- 
ments. A parrot  sits  on  a perch  at  the  left,  and  on  a shelf 
above  we  see  a box  of  parchment  documents  with  their 
seals,  also  a candlestick. 

There  are  several  repetitions  of  this  picture  in  different 
public  galleries,  in  the  execution  of  which  the  artist  is 
believed  to  have  been  assisted  by  his  son,  Jan  Massys 
(1500-1570). 

Canvas:  h.  46%  in.,  w.  38  in.  From  the  Gatton  Hall  col- 
lection formed  in  the  early  part  of  this  century  by  Lord 
Monson,  and  dispersed  in  1888.  Presented  by  J.  E.  Scripps. 


THE  MADONNA  AND  INFANT  SAVIOR 
By  Giovanni  Cima,  called  Conegliano  (1489-1508)  Venetian  School 
Gift  of  James  E.  Scripps,  Esq. 


GIOVANNI  CIMA,  called  CONEGLIANO,  Venetian  School. 
Pupil  of  Giovanni  Bellini.  Worked  between  the  years 
1489  and  1508. 

15  The  Madonna  in  a blue  drapery  adoring  the  Infant  Savior, 
who  is  seated  on  a ledge  or  parapet  before  her.  The 
mother’s  hands  are  folded  as  if  in  prayer,  as  she  gazes 
down  on  the  child.  The  latter  is  nude  and  reaches  his  left 
hand  to  his  mother’s  as  if  to  deprecate  the  homage  ren- 
dered. Rocks  at  the  left  in  the  background,  with  trees 


PAINTINGS  BY  THE  OLD  MASTERS 


21 


and  a church  on  their  summit.  Signed  at  the  right, 
“Joannes  Bta.  Coneglanesis.” 

Wood:  h.  25%  in.,  w.  19  in.  From  the  collections  success- 
ively of  M.  de  Bammeville,  Rev.  W.  Davenport-Bromley  and 
Mrs.  Sloane  Stanley,  of  London.  Presented  by  J.  E.  Scripps. 

JEROME  BOS,  or  BOSCHE  ( 1470-1518 [?]).  Early  Dutch 
School.  Bos  was  famous  for  the  grotesqueness  of  his 
subjects.  Although  ridiculous  they  are  treated  with 
singular  ingenuity. 

16  The  Last  Judgment.  The  picture  consists  of  two  parts,  a 
celestial  and  terrestrial.  In  the  former  the  Savior  occu- 
pies the  center,  seated  upon  a rainbow  with  his  feet  on  an 
orb  of  crystal,  which  is  borne  by  the  three  angels,  who 
are  blowing  the  last  trump.  At  his  right  (left  of  the  pic- 
ture) sits  the  Virgin  in  rich  blue  robes,  with  eleven  female 
attendants,  who  occupy  carved  stalls  like  those  in  a cathe- 
dral. The  Angel  Gabriel  presents  a crown  to  the  Virgin. 
On  the  other  side  of  the  Savior  sits  an  angel  with  the 
sword  of  justice,  and  seven  enstalled  church  dignitaries. 
A figure  clad  in  a loose  brown  robe  with  bare  arms  and 
leg  bare  to  the  knee  advances  with  outstretched  hands  as 
if  petitioning  for  mercy  upon  the  world  below.  In  the 
lower  portion  of  the  picture  we  see  in  the  distance  on  the 
right  an  expanse  of  sea  with  ships;  on  the  left  Paradise, 
with  a fountain,  trees,  and  figures  dancing.  In  the  fore- 
ground on  the  left  St.  Peter  with  the  keys,  with  eyes 
uplifted  to  the  Savior.  Crowding  about  him  are  the  nude 
figures  of  the  redeemed.  In  the  center  the  dead  rising  from 
their  graves  and  three  angels  contending  with  demons  for 
their  possession.  At  the  right  the  great  dragon  with  gap- 
ing mouth,  down  whose  throat  is  seen  a great  fire  with  a 
cauldron  filled  with  the  bodies  of  the  damned.  Emanating 
from  the  dragon  are  various  fantastic  demons. 

Wood:  h.  22%  in.,  w.  23%  in.  This  picture  was  formerly  in 
the  collection  of  Louis  Philippe,  last  King  of  the  French,  and 
more  recently  in  that  of  John  Neuwenhuys,  of  Brussels,  an 
eminent  connoisseur.  Presented  by  J.  E.  Scripps. 

TITIAN  (TIZIANO  VECEDLIO)  (1477-1576),  Venetian 
School.  Especially  famous  as  a colorist,  in  which  he 
excelled  all  his  contemporaries,  and  for  the  perfection 
of  his  portraits.  He  ranks  as  one  of  the  greatest  five 
Italian  painters. 

17  The  Entombment  of  Christ.  The  Savior  enveloped  in  a 
winding  sheet  is  carried  by  Joseph  of  Arimathea,  Nicode- 


22 


DETROIT  MUSEUM  OF  ART 


mus  and  St.  John.  To  the  left  Mary  Magdalene  supports 
the  Holy  Virgin. 

Canvas:  h.  54  in.,  1.  82*4  in.  This  picture  corresponds 
closely  to  Titian’s  famous  picture  of  the  same  subject  in  the 
Louvre  at  Paris.  It  was  formerly  the  property  of  Prince 
Erizzo,  and  was  purchased  in  Venice  in  1838  by  Lord  Monson, 
in  whose  collection  at  Gatton  Park,  Surrey,  England,  it  re- 
mained till  the  sale  of  the  collection  in  May,  1888.  Presented 
by  J.  E.  Scripps. 


18  Nymph  and  Satyr.  The  nymph  at  the  left,  with  mantle  of 
fur  looped  over  her  shoulder,  long  ear-drops,  and  wreath 
of  ivy  in  her  hair,  is  embraced  by  a satyr,  one  of  whose 
long  ears  she  playfully  pulls. 

Nymphs  in  mythology  are  female  divinities  of  a lower 
rank,  represented  in  works  of  art  as  beautiful  maidens, 
partially  or  entirely  nude.  Satyrs  or  fauns  are  the  gods 
of  the  fields,  and  are  represented  with  bristly  hair,  horns, 
pointed  ears  and  sometimes  a tail.  They  are  represented 
as  fond  of  wine,  dancing  and  music. 

Canvas:  h.  39  in.,  w.  31%  in.  Claimed  to  have  belonged  to 
an  ancient  family  at  Cadore,  the  birthplace  of  Titian.  Pre- 
sented by  J.  E.  Scripps. 


BENVENUTO  TISIO,  called  GAROFALO  (1481-1559) . 
School  of  Ferrara.  Pupil  of  Raphael.  His  character- 
istics are  a fantasticness  of  conception  and  vivid  color- 
ing. 

19  The  Annunciation.  The  Virgin  kneels  at  the  left  with 
folded  hands  before  a green  draped  prie-dieu.  The  Angel 
Gabriel  approaches,  supported  by  clouds,  at  the  right,  hold- 
ing the  symbolic  lily  in  his  left  hand.  Thirty-five  angels 
and  cherub  heads  are  seen  in  the  clouds  above.  In  a burst 
of  light  over  all  we  see  the  Holy  Ghost  descending  in  the 
form  of  a dove.  The  draperies  are  richly  embroidered  with 
gold. 

Painted  on  copper:  h.  18%  in.,  w.  13%  in.  On  the  back  of 
the  frame  is  an  old  inscription  reading:  “Benvenuto  Garofalo, 
Anno  1658.”  Presented  by  J.  E.  Scripps. 


BARTOLOMMEO  RAMENGHI,  called  BAGNACAVALiLO 
(about  1486-1542).  Early  Bologna  School.  Pupil  of  Fran- 
cesco Francia  and  Raphael.  His  principal  works  are  in 
the  churches  at  Bologna. 


PAINTINGS  BY  THE  OLD  MASTERS 


23 


20  The  Virgin  enthroned  with  St.  Amadio  and  St.  Anthony. 

The  Virgin  sits  on  a marble  throne  holding  a book  in  her 
left  hand.  The  Infant  Savior,  nude  except  for  a necklace 
and  bracelet  of  pearls,  sits  on  a cushion  on  her  right  knee. 
St.  Anthony  of  Egypt  stands  at  the  right  of  the  picture  with 
his  traditional  emblems,  the  crutch,  the  bell,  the  black 
pig,  the  fii^e  and  the  Greek  tau  or  T on  his  shoulder — the 
first  letter  of  the  word  Theos,  God.  St.  Amadio  stands  at 
the  left  in  the  robes  of  a bishop,  holding  the  model  of  a 
city  in  his  gloved  hands,  which  the  Holy  Child  leans  for- 
ward to  bless.  On  the  pedestal  of  the  Virgin’s  throne  is 
an  inscription  in  Latin,  the  literal  rendering  of  which  is: 
“I,  Peter  Demeo,  from  Ceregia,  had  these  figures  made  for 
my  devotion  on  the  last  of  November,  1529.  Beneo.  Ram- 
enghi  fecit.” 

St.  Anthony,  surnamed  the  Great,  was  born  in  Egypt  in 
251  and  died  in  3G5.  He  was  rich  and  educated,  but  gave 
all  his  property  to  the  poor  and  retired  into  the  desert, 
where  he  spent  many  years  in  ascetic  solitude.  He  later 
organized  a society  of  anchorites  and  thus  became  the 
founder  of  the  monastic  system.  The  crutch  seen  in  his 
pictures  symbolizes  his  age  and  feebleness,  the  bell  his 
power  to  exorcise  evil  spirits;  the  pig  represents  the 
demon  of  sensuality  which  Anthony  vanquished;  the  fire 
signifies  his  spiritual  aid  as  patron  saint  against  fire  in  alf 
shapes,  in  the  next  world  as  well  as  in  this. 

Wood:  h.  53  in.,  w.  44  in.  From,  the  collection  of  Giuseppi 
Placidi,  of  Rome,  connoisseur  and  intimate  friend  of  Gibson, 
the  sculptor,  and  T.  Buchanan  Read,  the  painter.  Presented 
by  J.  E.  Scripps.  Unfortunately  this  picture  has  suffered 
serious  injury  from  the  climate. 

SCHOOL  OF  ANDREA  DEL  SARTO.  Andrea  Vanucchi, 
called  del  (Sarto  (1487-1531).  Florentine  School.  Famous 
for  the  boldness  of  his  relief  or  his  perfect  knowledge 
of  the  chiaroscuro. 

21  The  Deposition  of  Christ.  A rocky  background.  The  dead 
Savior  in  the  center  is  supported  in  a sitting  position  by  a 
young  man  at  the  left.  The  Virgin,  kneeling  behind,  lifts 
his  left  arm.  Two  kneeling  female  figures  at  the  right 
with  folded  or  clasped  hands  look  on  in  mournful  adora- 
tion. St.  Peter  stands  behind  the  Savior  gazing  down  in 
sadness.  Another  male  figure  further  to  the  right  (prob- 
ably Joseph  of  Arimathea)  stretches  out  his  right  arm  as 
if  giving  directions  to  the  young  man  at  the  left.  In  the 
foreground  a chalice,  with  paten  and  consecrated  wafer. 


24 


DETROIT  MUSEUM  OF  ART 


Wood:  h.  28%  in.,  w.  24  in.  This  painting  is  either  a study 
for  the  larger  one  of  the  same  subject,  No.  58,  in  the  Pitti 
Palace  gallery  at  Florence,  or  is  a copy  of  the  same  by  one 
of  Del  Sarto’s  pupils.  A change  in  the  color  of  the  dress  of 
the  female  at  the  Savior’s  feet,  in  the  Florence  picture  it  being 
a rose  pink,  in  this  a bright  red,  leads  to  the  inference  that  it 
is  not  a copy,  but  really  a work  of  the  master’s  own  hand. 
Purchased  of  Luigi  Pisani,  Florence.  Presented  by  J.  E. 
Scripps. 


JOACHIM  PATINIER  (attributed  to)  (1490-1545).  Early 
Flemish  School.  By  his  habit  of  painting  his  figures 
small  in  proportion  to  his  landscape  background,  he 
became  the  founder  of  landscape  painting  in  the  Nether- 
lands. 

22  A small  triptych  Altar-piece.  Center  compartment:  the 
Crucifixion,  with  a city  (Jerusalem)  in  the  distance;  the 
Virgin  and  St.  John  standing  on  either  side  of  the  cross. 
Left  wing:  St.  Jerome,  kneeling  in  an  open  landscape  with 
an  open  book  on  the  ground  before  him.  His  attendant 
lion  is  dimly  seen.  Right  wing:  Mary  Magdalene,  kneeling 
before  an  open  book  in  a rocky  landscape. 

Wood:  Center  panel  h.  7%  in.,  w.  5%  in.;  side  panels,  h.  9% 
in.,  w.  3 Vs  in.  From  the  collection  of  C.  J.  Knight,  F.  S.  A., 
of  London.  Presented  by  J.  E.  Scripps. 


ANTONIO  ALLEGRI,  called  CORREGGIO  (1494-1534). 
Parmesan  School.  His  most  important  work  is  in  the 
interior  of  the  dome  of  the  cathedral  at  Parma,  repre- 
senting in  fresco  the  assumption  of  the  Virgin.  It  is 
regarded  as  one  of  the  most  extraordinary  productions 
of  the  art. 

23  Study  for  two  angel  heads  for  the  dome  of  the  cathedral 
at  Parma.  (The  figure  at  the  left  looks  as  if  intended  for 
a young  John  the  Baptist.) 

Canvas,  octagon:  h.  23  in.,  w.  23  in.  From  the  collection  of 
W.  H.  Aspinwall,  of  New  York.  Presented  by  J.  E.  Scripps. 


ANNIBALE  CARRACCI  (1560-1609),  one  of  the  founders  of 
the  Bologna  School.  His  best  work  is  the  series  of 
frescoes  in  the  Farnesina  Palace  at  Rome. 

24  The  Triumph  of  Galatea,  a replica  in  oil  of  one  of  the 
Farnesina  frescoes.  In  the  right  of  the  picture  Galatea, 
lightly  draped,  is  drawn  over  the  sea  by  dolphins,  at- 
tended by  nymphs  and  sea  gods.  At  the  right  Triton,  son 


PAINTINGS  BY  THE  OLD  MASTERS 


25 


and  herald  of  Neptune,  blowing  his  shell  trumpet;  at  the 
left,  bringing  up  the  marine  procession,  nereids  or  sea 
nymphs;  above,  cupids  with  torch,  arrows,  etc.,  symbolic 
of  love. 

Canvas:  h.  29  in.,  1.  53  in.  From  the  Duke,  of  Lucca’s  col- 
lection, sold  in  London  in  1841.  Presented  by  J.  E.  Scripps. 


JAN  BREUGHEL,  called  VELVET  BREUGHEL  (1568- 
1625).  Flemish  School.  Often  worked  in  conjunction 
with  Rubens.  A versatile  painter,  but  excelled  espe- 
cially in  landscape,  and  famous  for  his  careful  finish 
and  vigorous  coloring. 

25  A Village  Scene.  A large  tree  stands  in  front  of  a two- 
storied  house  on  the  left;  a windmill  on  an  eminence  on 
the  right;  a road  stretches  away  between  rows  of  trees  in 
the  center.  In  the  foreground  figures  on  foot,  wagons  and 
horses,  a sow  and  pigs,  etc. 

Copper:  h.  9 % in.,  1.  12^4  in.  From  the  collection  of  Maj. 
Corbett-Winder,  of  Vaynor  Park,  Berriew,  Wales.  Presented 
by  J.  E.  Scripps. 


GUIDO  RENI  (1575-1642),  Bologna  School.  Next  to  Do- 
menichino  the  most  worthy  of  the  disciples  of  the 
Carracci.  His  most  famous  work  is  the  well-known 
fresco  of  Aurora  in  the  Rospigliosi  palace  at  Rome. 

26  Head  of  Christ  crowned  with  thorns. 

Wood,  oval;  h.  19 V2  in.,  w.  16  in.  In  the  opinion  of  an  emi- 
nent English  expert  this  is  a genuine  work  of  Guido’s  and  in 
a very  fine  state.  Presented  by  J.  E.  Scripps. 

PETER  PAUL  RUBENS  (1577-1640).  Greatest  master  of 
the  later  Flemish  School  and  an  accomplished  scholar4 
and  diplomat.  He  excelled  in  his  bold,  spirited  drawing 
and  warm  transparent  coloring.  His  greatest  powers 
were  exercised  in  animal  painting.  Horses,  dogs  and 
ravenous  animals  he  rendered  with  inimitable  mastery. 
His  greatest  work  is  “The  Descent  from  the  Cross,”  in 
the  cathedral  at  Antwerp. 

27  Abigail  meeting  David  with  presents.  Abigail  is  seen 
alighted  from  her  beast  and  bending  on  one  knee  before 
David;  her  left  hand  is  placed  on  her  breast  and  her  right 
extended  towards  the  present  of  bread,  etc.,  brought  to 
appease  David’s  anger  against  her  husband,  Nabal.  Her 
attendants  consist  of  two  females,  who  stand  on  her 
farther  side  (these  are  probably  portraits  of  the  artist’s 


ABIGAIL  MEETING  DAVID  WITH  PRESENTS  By  Peter  Paul  Rubens  (1577-1640)  Flemish  School  Gift  of  James  E.  Scripps,  Esq. 


PAINTINGS  BY  THE  OLD  MASTERS 


27 


first  and  second  wives),  and  three  men  servants.  David, 
clad  in  armor  and  wearing  a scarlet  mantle,  has  also  dis- 
mounted from  his  horse,  which  is  held  by  a youth  behind 
him,  and  is  bending  forward  to  raise  Abigail;  a company 
of  two  horse  and  three  foot  soldiers  attend  the  future  King 
of  Israel.  The  story  is  told  in  I Samuel,  chapter  xxv. 

Max  Rooses,  the  great  authority  on  the  works  of  Rubens, 
is  of  the  opinion  that  Rubens  was  aided  in  this  work  by 
his  pupils,  but  that  he  himself  put  the  finishing  touches  to 
the  principal  parts,  especially  the  figures  and  the  sky  at 
the  right.  He  observes  that  the  outlines  are  clear  and 
the  tone  warm.  He  judges  the  picture  to  have  been  painted 
about  1618,  which  was  Rubens’  best  period.  He  traces  its 
history  through  the  Duke  of  Richelieu,  the  Duke  of  Gram- 
mont  (1715),  Jacques  Meyers,  of  Rotterdam  (1722),  the 
Count  of  Plettenberg  and  Wittem  (1788),  and  Paul  Meth- 
uen (1830).  At  the  sale  of  Methuen’s  pictures  it  brought 
1,500  guineas  ($7,700). 

'Canvas:  h.  69  in.,  1.  98  in.  Described  in  Smith’s  Catalogue 
Raisonne,  Vol.  II,  p.  170.  It  was  last  sold  with  M.  Secretan’s 
other  pictures  in  Paris,  July  2,  1889,  when,  according  to  the 
French  paper  La  Diberte  it  was  bid  for  by  the  French  govern- 
ment up  to  115,500  francs.  It  was  finally  knocked  down  at 
117,000  francs  ($23,520).  Presented  by  J.  E.  Scripps. 

FRANCESCO  ALBANO  (1578-1660).  Bologna  School;  pupil 
of  the  Carracci.  Elegance,  cheerful  subjects  and  playful 
fancy  are  the  characteristics  of  this  painter.  His  re- 
ligious subjects  are  considered  his  best  works. 

28  The  Immaculate  Conception.  The  Almighty  Father  is  rep- 
resented in  the  clouds  above  surrounded  by  cherubs;  at 
the  left  is  the  Blessed  Virgin  standing  upon  the  crescent 
moon  with  the  great  dragon  at  her  feet;  to  the  right  a 
group  of  admiring  angels. 

[See  remarks  in  connection  with  No.  48  of  this  catalogue.] 

Canvas:  h.  37  in.,  w.  28%  in.  Formerly  in  the  Duke  of  Mo- 
dena’s collection.  Presented  by  J.  E.  Scripps. 

CORNELIUS  DE  VOS  (1585-1651).  Flemish  School.  Bril- 
liant painter  of  portrait  groups. 

29  Portraits  of  Franz  Snyders,  the  great  Flemish  animal 
painter,  and  his  wife,  seated  hand  in  hand;  life  size;  half 
length. 

Snyders  was  the  contemporary  and  friend  of  Rubens, 
who  frequently  employed  him  to  paint  the  animals,  fruit, 
etc.,  in  his  pictures.  He  was  born  in  1579  and  died  in  1657. 


28 


DETROIT  MUSEUM  OF  ART 


His  works  are  held  in  high  estimation.  The  couple  in  this 
picture  appear  to  be  28  or  30  years  old,  which  would  make 
the  date  of  the  picture  about  1008. 

Canvas:  h.  47  in.,  1.  60  in.  Formerly  in  the  collection  of 
Henry  Nugent  Banks,  a well-known  English  connoisseur.  Pre- 
sented by  J.  E.  Scripps. 

CORNELIUS  POELEMBURG  (1586-1667).  Dutch  School. 
Excelled  in  small  landscapes  with  figures,  frequently 
nude,  rendered  with  great  tenderness  of  warm  coloring. 
His  pictures  are  found  in  almost  all  European  galleries. 

30  A landscape  with  women  bathing.  Five  nude  figures  seen 
to  the  left  of  the  picture. 

Wood:  h.  5%  in.,  1.  8%  in.  From  the  collection  of  Major 
Corbett-Winder.  Presented  by  J.  E.  Scripps. 

JOSEPH  RIBERA,  called  SPAGNOLETTO  (1588-1656). 
Neapolitan  School.  He  delighted  in  gloomy  and  austere 
subjects.  In  tragic  compositions  such  as  martyrdoms, 
executions  and  tortures  he  particularly  excelled.  He 
possessed  a bold,  free  style,  having  powerful  effect.  His 
drawing  was  correct  and  he  excelled  in  portraiture. 

31  Head  of  an  Old  Man. 

Canvas:  h.  21%  in.,  w.  19  in.  Formerly  in  the  collection  of 
Louis  Philippe,  King  of  the  French.  Presented  by  J.  E. 
Scripps. 


COPYRIGHT  BY  DETROIT  PUBLISHING  CO. 


HEAD  OF  OLD  MAN 

By  Joseph  Ribera,  called  Spagnoletto  (1588-1656)  Neapolitan  School 
Gift  of  James  E.  Scripps,  Esq. 


PAINTINGS  BY  THE  OLD  MASTERS 


29 


CHRIST  IN  THE  HOUSE  OF  MARY  AND  MARTHA 
By  Henry  Steenwyck,  the  Younger  (1589-1642) 

Gift  of  James  E.  Scripps,  Esq. 

HENRY  STEENWYCK,  the  YOUNGER  (1589-1642).  Flem- 
ish School.  Intimate  friend  of  Van  Dyck  and  protege  of 
Charles  I of  England.  He  painted  chiefly  interiors  of 
churches  and  other  edifices. 

32  Christ  in  the  house  of  Martha  and  Mary.  At  the  right 
background,  a Dutch  kitchen,  with  cook  and  boy  turning 
a spit.  At  the  left  effects  of  light  shining  through  a 
leaded  glass  window.  Shelf  with  books  turned  with  their 
backs  to  the  wall,  as  was  the  custom  of  the  16th  century. 
Christ  sits  near  the  window  and  a woman  kneels  before 
him.  In  the  center  of  the  spacious  hall  another  woman 
stands  regarding  him.  Signed  “H.  V.  S.,  1620,”  in  lower 
right  hand  corner. 

Copper:  h.  13%  in.,  1.  19%  in.  A similar  picture  by  the 
same  artist  but  on  canvas  and  25%  inches  high  by  38  long  is 
in  the  gallery  of  the  Louvre  at  Paris.  This  also  bears  the 
date  1620,  but  the  signature,  “Henri  V.  Steinwick,’’  is  spelled 
out  in  full.  The  Detroit  picture  was  purchased  of  Martin 
Colnaghi,  London,  one  of  the  best  living  experts  in  old  paint- 
ings. Presented  by  J.  E.  Scripps. 


30 


DETROIT  MUSEUM  OF  ART 


GIOVANNI  FRANCESCO  BARBIERI,  called  GUERCINO 
(1591-1G66).  Bologna  School.  Pupil  of  the  Carracci.  He 
was  a most  industrious  painter  and  bold  in  drawing  and 
sweet  in  coloring. 

33  The  Erythraean  Sibyl.  She  sits  with  upturned  face  weep- 
ing. At  the  left  of  the  picture  is  a long  tablet  or  book  of 
wax  tablets,  upon  which  is  inscribed  the  title,  “JVDICIJ 
SIGNVM  TELLVS  SVDORE  MADESCET,”  and  at  the  foot 
the  words  “Sibij  Erithrsea,”  the  literal  translation  being 
“The  sign  of  judgment,  the  earth  shall  be  moistened  with 
sweat,”  with  the  name  of  the  Sibyl. 

The  Sibyls  were  prophetesses  who  foretold  the  coming  of 
Christ  to  the  Gentiles,  as  the  prophets  did  to  the  Jews. 
They  were  regarded  as  holy  virgins,  who  lived  in  caves 
and  grottoes,  with  power  to  read  the  future.  Varro,  who 
wrote  100'  years  before  Christ,  gives  their  number  as  ten, 
and  their  names  are  taken  from  the  locality  of  their  habi- 
tation. The  Sibyl  Erythrasa  is  the  prophetess  of  Divine 
vengeance.  She  predicted  the  Trojan  wTar,  in  which  char- 
acter she  holds  a naked  sword.  But  she  also  foretold  the 
annunciation  and  in  this  representation  she  has  a white 
rose. 

Canvas:  h.  44%  in.,  1.  60 ^ in.  Formerly  in  the  Mecarini 
palace  at  Pisa;  later  in  the  collection  of  W.  H.  Aspinwall,  of 
New  York.  Presented  by  J.  E.  Scripps. 


MATHIEU  LE  NAIN  (1593-1G77).  French  School.  Little 
is  known  of  his  history,  which  is  surprising,  as  his  works 
have  always  been  exceedingly  popular. 

34  Portrait  of  Tycho  Brahe,  the  eminent  astronomer,  decor- 
ated with  the  cross  of  the  order  of  St.  Lazarus.  Nearly  full 
face,  half  length,  life  size. 

Tycho  Brahe  was  born  in  Denmark  in  154G.  He  was 
attracted  to  the  study  of  astronomy  by  a great  eclipse  of 
the  sun  in  15G0.  Six  years  later  he  lost  his  nose  in  a duel 
and  ingeniously  replaced  it  by  one  of  the  precious  metals. 
He  married  a peasant  girl  in  1573,  and  having  now  become 
famous,  under  the  patronage  of  the  Danish  king,  erected 
his  celebrated  observatory  on  the  island  of  Huen.  Becom- 
ing the  victim  of  neglect  and  persecution  he  took  refuge  in 
Prague,  in  Bohemia,  where  he  died  in  1G01. 

The  order  of  St.  Lazarus  was  a military  and  religious 
order,  dating  from  the  occupation  of  Jerusalem  by  the 
first  crusaders.  In  time  it  became  a French  civil  corpora- 
tion, and  continued  till  superseded  by  the  Legion  of  Honor. 


PAINTINGS  BY  THE  OLD  MASTERS 


31 


Canvas:  h.  32%  in.,  w.  26  in.  Oval.  Formerly  in  the  collec- 
tion of  the  Earl  of  Hardwick,  at  Wimpole,  Cambridgeshire. 
Presented  by  J.  E.  Scripps. 

ANDREA  SACCHI  (1594-1661).  Roman  School.  Pupil  of 
Albano. 

35  The  Apparition  of  the  Virgin  to  St.  Philip  Benozzi.  The 

Virgin  at  the  right  is  carried  upon  a cloud  as  in  a chariot 
surrounded  by  angels  and  cherubs.  She  holds  the  child  on 
her  right  knee  and  both  gaze  down  with  loving  interest 
upon  the  kneeling  saint  to  the  left,  who  in  the  black  velvet 
scholar’s  gown  of  the  period  extends  his  hands  in  adora- 
tion. Two  cherubs  appear  at  the  Virgin’s  feet,  the  one 
holding  the  symbolic  lily,  the  other  an  open  book,  to  a 
passage  in  which  he  is  calling  the  attention  of  the  saint. 

St.  Philip  Beniti  or  Benozzi,  the  principal  ornament  and 
propagator  of  the  religious  order  of  the  Servites  in  Italy, 
was  a member  of  a noble  Florentine  family.  Once  at  mass 
he  heard  the  words  “Draw  near  and  join  thyself  to  the 
chariot”  read  in  the  epistle  for  the  day.  Applying  them 
to  himself  he  considered  it  an  invitation  to  put  himself 
under  the  patronage  of  the  Blessed  Virgin  in  the  order  of 
the  Servites.  The  following  night  he  thought  he  beheld 
the  Virgin,  seated  in  a chariot,  calling  him  to  this  new 
order.  He  took  the  vows  in  1233. 

Canvas:  h.  53%  in.,  w.  39  in.  From  the  collection  of  the 
late  Giusseppi  Placidi  of  Rome.  Presented  by  J.  E.  Scripps. 

JAN  VAN  GOYEIN  (1596-1656) . Dutch  School.  He  excelled 
in  his  drawing,  but  painted  in  a subdued  tone.  Water  is 
a prominent  feature  in  all  his  pictures. 

36  A River  Scene,  with  chateau,  trees  and  windmill  to  the 
right;  a fishing  boat,  net  and  lobster  pot  in  the  foreground. 

Wood:  h.  15%  in.,  1.  24  in.  From  the  collection  of  T.  J.  Ire- 
land, Esq.,  M.  P.,  of  Suffolk,  England.  Presented  by  J.  E. 
Scripps. 


SIMON  DE  VLIEGER  (1600-1656).  Dutch  School.  He  was 
the  first  to  represent  the  ocean  under  its  different 
aspects  with  great  truth;  his  atmosphere  is  equally  true 
and  fresh. 

37  A calm  on  the  banks  of  the  Meuse.  On  the  right  a tower 
overhung  by  trees  and  a wharf  upon  which  a man  sits 
observing  two  fishermen  in  boats  below;  a lobster  crate 


32 


DETROIT  MUSEUM  OF  ART 


suspended  in  the  water;  to  the  left  a man-of-war  and  four 
smaller  vessels.  Signed  at  lower  right  corner  “S.  DeVlie- 
ger,  1642.” 

An  inscription  on  the  back  reads,  “Perspective  is  well 
contrived  and  painted  with  much  transparency.  A chef 
d’ceuvre.” 

Wood:  h.  18%  in.,  1.  26%  in.  Presented  by  J.  E.  Scripps. 

CLAUDE  GELEE,  called  LORRAINE  (1600-1682).  French 
School.  He  has  been  called  the  prince  of  landscape 
painters.  He  excelled  in  his  coloring  and  atmospheric 
effects,  also  in  his  architectural  representations.  Few  of 
his  pictures  are  an  exact  transcript  of  any  one  scene; 
they  are  rather  combinations  of  beautiful  objects  bor- 
rowed from  different  points  and  united  with  consummate 
skill  and  taste. 

38  A Seaport,  represented  under  the  appearance  of  sunrise. 
This  picture  is  distinguished  by  a lofty  portico  on  the 
right,  only  three  columns  of  which  are  seen.  On  the  far- 
ther side  of  it  lies  a vessel  at  anchor,  and  nearer  the 
spectator  are  two  men  in  conversation,  one  of  whom  is 
seated  on  the  pavement  pointing  to  some  distant  object. 
Its  opposite  side  is  bounded  by  cliffs,  surmounted  by  clus- 
ters of  trees.  Several  vessels  ride  at  anchor  under  the 
shelter  of  this  high  land,  near  the  termination  of  which  is 
a tower.  In  the  center  of  the  foreground  are  three  men  in 
conversation;  a fourth,  with  a package  on  his  back,  is 
going  through  the  water  to  a boat  in  which  are  two  sailors. 
A portion  of  the  shaft  of  a column,  a plank  and  a log  of 
wood  are  seen  on  the  right. 

Canvas:  h.  39  in.,  1.  53  in.  Referred  to  in  Smith’s  Catalogue 
Raisonne,  Vol.  VIII,  p.  194.  It  is  a replica  with  slight  varia- 
tions of  No.  2 of  Claude’s  Liber  Veritatis,  an  illustrated  cata- 
logue kept  by  the  artist  of  his  own  works.  Long  in  the  col- 
lection at  Leigh  Court,  Somersetshire,  England,  at  the  sale  of 
which,  in  1884,  it  was  purchased  for  the  Detroit  Museum  of 
Art.  Presented  by  J.  E.  Scripps. 


HENRY  VAN  VLIET  (1605-1671).  Dutch  School.  He  ex- 
celled in  painting  church  interiors. 

39  Interior  of  a Dutch  church  of  typical  architecture,  with 
figures  strolling  about  and  a flagstone  removed  in  prepar- 
ation for  the  digging  of  a grave. 

Wood:  h.  10  in.,  w.  8%  in.  From  the  collection  of  Major 
Corbett-Winder.  Presented  by  J.  E.  Scripps. 


PAINTINGS  BY  THE  OLD  MASTERS 


33 


GIOVANNI  BATISTA  SALVI,  called  SASSOFERRATO 
(1605-168i5).  Roman  School.  His  pictures  are  mostly 
confined  to  the  Madonna  and  child  and  are  painted  with 
great  sweetness  of  expression.  They  are  found  in  all 
the  leading  galleries. 

40  The  Virgin,  with  blue  robe,  holds  a bunch  of  pinks  in  her 
left  hand,  while  with  her  right  she  presents  one  flower  to 
the  infant  Jesus,  who  sits  upon  a cushion  on  her  lap.  The 
latter  is  nude  except  for  a thin  gauze  around  his  loins.  A 
landscape,  with  buildings,  is  seen  through  an  open  window 
at  the  upper  right  corner. 

Canvas:  h.  29 in.,  w.  23%  in.  Formerly  in  the  Gillott  col- 
lection, sold  in  1872.  Presented  by  J.  E.  Scripps. 


ALBERT  CUYP  (1605-1691).  Dutch  School.  His  favorite 
subjects  were  landscapes  with  a river  and  cattle  lying 
or  standing  on  its  banks.  His  principal  charm  is  the 
beauty  of  the  lighting  of  his  pictures.  His  early  works 
are  signed  “A.  C.,”  but  in  his  later  and  best  period  he 
signed  his  pictures  “A.  Cuyp.”  His  work  has  always 
been  particularly  popular  in  England. 

41  A woman  seated  on  the  ground,  milking  a dun  cow,  while 
conversing  with  a cavalier  before  a ruined  building.  To 
the  left  a river  and  herdsmen  with  eight  other  cows,  all 
but  one  reposing.  Signed  in  the  middle,  near  the  bottom, 
“A.  Cuyp.” 

Canvas:  h.  39%  in.,  1.  52%  in.  Exhibited  at  the  Royal  Irish 
Art  Union  exhibition  of  ancient  masters  in  1847,  when  it  was 
the  property  of  John  La  Touche.  Presented  by  J.  E.  Scripps. 


EMANUEL  DE  WITTE  (1607-1692).  Dutch  School.  He 
excelled  in  church  interiors  and  brought  this  class  of  art 
to  the  same  perfection  that  Ruysdael  did  landscape  and 
William  Van  der  Velde  marine  painting.  The  figures  are 
well  drawn  and  are  introduced  with  picturesque  effect. 

42  Interior  of  a Protestant  Church  in  Holland;  two  figures 
wearing  hats  in  conversation  at  the  left;  other  figures  near 
the  door  and  two  dogs. 

Wood:  h.  17  in.,  w.  13%  in.  From  the  collection  of  Major 
Corbett-Winder.  Exhibited  at  the  Royal  Academy  exhibition 
of  old  masters  in  1879.  Presented  by  J.  E.  Scripps. 


REMBRANDT  HARMENZ  VAN  RYN  (1607-1669).  Recog- 
nized as  the  greatest  painter  of  the  Dutch  School.  He 
was  a close  student  of  nature  and  especially  excelled  in 


34 


DETROIT  MUSEUM  OF  ART 


his  portraits.  But  Rembrandt  is  most  famous  for  his 
magnificent  warmth,  power  and  clearness  of  color.  His 
most  noted  paintings  are  “The  Night  Watch,”  at  Amster- 
dam; “The  Anatomy  Lecture,”  at  the  Hague,  and  others. 

43  The  Death  of  Lucretia.  Lucretia,  richly  dressed,  with  a 
blood  stain  on  her  breast,  is  raised  to  a reclining  posture 
by  an  old  man  at  the  left  in  a flat  cap,  shaggy  whiskers 
and  beard,  ermine  cape  and  voluminous  robe.  Another 
figure  in  a plumed  hat  kneels  before  the  dying  woman, 
with  arms  extended  towards  her.  The  short  dagger  with 
which  the  suicide  has  been  accomplished  lies  by  her  side 
in  the  foreground  of  the  picture. 

Lucretia  was  the  beautiful  wife  of  Collatinus,  a near 
relative  of  Tarquin  the  Proud,  King  of  Rome.  Sextus  Tar- 
quinius,  the  king’s  son,  inspired  by  a passion  for  her, 
forcibly  effected  her  dishonor  while  a guest  at  her  house 
in  the  absence  of  her  husband.  She  summoned  her  hus- 
band and  father  from  the  camp  where  they  were  serving 
against  the  Rutulians  and,  having  recounted  the  indignity 
she  had  been  the  victim  of,  plunged  a dagger  into  her  own 
heart.  The  witnesses  of  the  tragedy  swore  over  her  body 
to  expel  the  Tarquins  from  Rome  and,  having  effected  this, 
the  republic  was  established  in  B.  C.  509. 

Canvas:  h.  67  in.,  1.  86%  in.  Formerly  in  the  possession  of 
the  Farsetti  family  at  Venice,  from  whom  it  was  purchased  by 
Woodburn,  the  celebrated  dealer  and  expert,  in  1838,  for  600 
guineas.  It  was  sold  by  him  to  Lord  Monson,  who  was  form- 
ing a very  valuable  collection  at  Gatton  Park,  Surrey,  Eng- 
land, which  collection  was  dispersed  in  1888.  Nos.  14  and  17 
of  this  catalogue  were  acquired  from  the  same  important  col- 
lection. A picture  of  the  death  of  Lucretia  by  Rembrandt  is 
mentioned  by  Vosmaer  and  Scheltema  as  being  in  the  collec- 
tion of  Abraham  Wijs  and  Sara  di  Potter  in  1658.  A Lucretia 
by  Rembrandt  was  sold  in  Mr.  Zachary’s  collection  in  1826, 
and  was  bought  by  Sir  Thomas  Lawrence,  president  of  the 
Royal  Academy,  for  £199  10s.  Presented  by  J.  E.  Scripps. 


HERMAN  SAFT-LEVEN  (1609-1685).  Dutch  School.  Pupil 
of  Jan  Van  Goyen.  His  pictures  are  mostly  of  Rhine 
scenery,  and  are  well  drawn  and  carefully  executed. 

44  A Winter  Scene.  A valley  with  high  rocks  to  the  right, 
and  a cottage;  castle  on  opposite  hill;  people  skating  on 
the  frozen  stream  and  others  driving  sleds  on  the  road 
which  leads  to  the  right. 

Wood:  h.  10%  in.,  1.  14  in.  From  the  collection  of  C.  J 
Knight,  F.  S.  A.,  of  London.  Presented  by  J.  E.  Scripps. 


PAINTINGS  BY  THE  OLD  MASTERS 


35 


JAN  BOTH  (1610-1651).  Dutch  School.  Influenced  by 
Claude  Lorraine.  Excelled  in  Italian  mountain  scenery, 
with  the  effect  of  golden  light.  His  brother  Andrea 
usually  painted  the  figures  in  Jan’s  landscapes. 

45  A View  in  the  Apennines.  At  the  left,  a torrent,  crossed 
by  a wooden  bridge;  a tall  pine  rises  from  its  border.  At 
the  right,  lofty  rocks,  down  the  side  of  which  a road 
descends.  Two  shepherds  in  conversation,  with  a herd  of 
goats  in  a pen  composed  of  network  stretched  on  stakes. 
The  effect  of  a setting  sun.  Signed  at  lower  right  hand 
corner. 

Wood:  h.  16%  in.,  1.  24  in.  From  the  collection  of  M. 
Tenc6,  of  Lille,  sold  December,  1881.  Presented  by  J.  E. 
Scripps. 


DAVID  TENIERS,  the  younger  (1610 16-90).  Flemish 
School.  His  favorite  subjects  were  village  festivals  and 
merrymakings,  fairs  and  kermesses,  gypsies,  incanta- 
tions, interiors  of  cabarets,  with  peasants  smoking  and 
regaling,  etc.  Though  extremely  numerous,  his  pictures 
are  held  in  the  highest  estimation. 


A ROOM  IN  AN  INN 

By  David  Teniers,  the  Younger  (1610-1690)  Flemish  School 
Gift  of  James  E.  Scripps.  Esq. 


36 


DETROIT  MUSEUM  OF  ART 


46  A Room  in  an  Inn.  Three  peasants  smoking.  One  at  the 
left  holds  a large  beer  mug  in  his  hand  and  rests  his  foot 
on  a box  upon  which  we  see  the  monogram  D.  T.  F.  (David 
Teniers,  fecit),  a second  sits  at  a table  preparing  some 
tobacco,  while  a third  stands  behind.  A cartoon  on  the 
wall  bears  the  date  1644. 

Canvas:  h.  13 % in.,  1.  16%  in.  Purchased  in  Leipsic,  where 
its  genuineness  was  attested  in  writing  by  Dr.  Schreiber, 
director  of  the  Leipsic  gallery,  and  Prof.  Anton  Springer,  well- 
known  writer  on  art.  Presented  by  J.  E.  Scripps. 

MINDERHOUT  HOBBEMA  (1638-1709).  Dutch  School. 
Believed  to  have  been  a pupil  of  Solomon  Ruysdael,  and 
a friend  and  companion  of  the  more  famous  Jacob  Ruys- 
dael. He  painted  landscapes  only,  generally  woody 
scenes.  His  coloring  is  extremely  natural,  and  his  skies 
light  and  floating.  He  is  regarded  as  second  only  to 
Ruysdael  as  a landscape  artist. 

47  A River  Scene,  with  a peasant  and  dog  crossing  a rustic 
bridge  at  the  right;  in  the  center,  near  a cottage,  a man 
seated  angling,  and  two  peasants  on  a road  leading  to  a 
village,  with  a church  seen  in  the  distance  to  the  left. 
Signed  in  lower  left  hand  corner,  “M.  Hobbema,  1648.” 
(The  third  figure  is  indistinct.) 

Wood:  h.  18%  in.,  1.  24%  in.  Presented  by  J.  E.  Scripps. 

BARTOLOME  ESTEBAN  MURILLO  (1618-1682).  Spanish 
School.  Pupil  of  Velasquez.  His  most  famous  pictures 
are  his  representations  of  the  Immaculate  Conception, 
so-called,  of  which  there  are  known  to  be  25  in  existence, 
no  two  entirely  alike.  One  of  the  best  of  these  is  in  the 
Louvre  in  Paris.  In  those  in  which  the  Virgin  is  repre- 
sented with  dark  hair  the  artist  is  said  to  have  taken 
his  daughter  Francisca  as  a model.  Murillo  also  painted 
Holy  Families,  Madonnas,  religious  scenes  and  beggar 
boys.  All  his  figures  are  strikingly  Spanish,  and  a great 
sweetness  of  expression  and  tender  beauty  usually  char- 
acterizes his  women.  His  style  has  been  said  to  hold  a 
middle  rank  between  the  unpolished  naturalness  of  the 
Flemish  and  the  grace  of  the  Italian  School. 

48  The  Immaculate  Conception.  The  Virgin,  standing  in  the 
hollow  of  a crescent  with  one  horn  visible,  looks  up  to  her 
left;  the  right  wrist  covers  the  thumb  and  tip  of  the  fore- 
finger of  the  left  hand  on  her  breast;  her  mantle  floats  out 
on  her  left  in  a heavy  fold;  seven  cherubs  beneath  hold 


THE  IMMACULATE  CONCEPTION 
By  Bartolome  Esteban  Murillo  (1618-1682)  Spanish  School 
Gift  of  James  E.  Scripps.  Esq. 


38 


DETROIT  MUSEUM  OF  ART 


palm,  lily,  roses  and  olive  branch;  five  cherub  heads  on 
each  side  above.  The  Virgin  has  dark  hair.  The  elaborate 
frame  bears  the  royal  arms  of  Spain. 

The  doctrine  of  the  Immaculate  Conception,  or  sinless 
nature  of  the  Virgin  Mary,  was  agitated  as  early  as  the 
5th  century.  In  the  11th  century  it  was  proposed  to  make 
it  an  article  of  belief,  but  it  was  postponed  through  the 
influence  of  St.  Bernard.  In  the  13th  century  it  was  advo- 
cated by  the  learned  Duns  Scotus,  but  was  successfully 
opposed  by  the  great  theologian,  St.  Thomas  Aquinas.  In 
1615  the  teaching  of  a contrary  doctrine  was  prohibited 
by  papal  bull.  About  the  same  time  Pacheco,  a Spanish 
inquisitor  and  inspector  of  sacred  pictures,  laid  down  rules 
to  be  followed  in  pictorial  representations  of  the  dogma. 
The  Virgin  was  to  be  portrayed  in  the  bloom  of  youth,  with 
all  the  beauty  painting  can  express,  her  hands  to  be  folded 
on  her  bosom  or  joined  in  prayer.  She  was  to  be  sur- 
rounded by  a flood  of  light  with  the  moon  under  her  feet; 
her  robe  to  be  of  spotless  white,  the  mantle,  or  scarf,  blue. 
Around  her  were  to  hover  cherubs,  bearing  roses,  palms 
and  lilies.  Murillo  did  not  always  adhere  rigidly  to  these 
rules,  but  his  orthodoxy  was  never  questioned. 

Canvas:  h.  78  in.,  w.  53  in.  This  picture  was  taken  from  the 
Royal  Palace,  Madrid,  during  the  Peninsular  war,  by  the 
French  General  Desolle,  whose  daughter  sold  it  to  Woodburn, 
a well-known  London  dealer.  He  in  turn  sold  it  to  the  King 
of  Holland  for  £4,000  ($20,000).  At  the  sale  of  the  King’s 
pictures,  August  12,  1850,  it  was  bid  in  at  about  $15,480.  In 
1857  it  was  sold  to  W.  H.  Aspinwall,  of  New  York,  at  whose 
death  it  was  sent  to  London  to  be  sold,  where  it  was  pur- 
chased for  the  Detroit  Museum.  A wood  engraving  of  it 
appeared  in  Harper’s  Weekly,  June  30,  185  8.  It  is  No.  84  in 
Charles  B.  Curtis’s  catalogue  of  the  works  of  Murillo,  page 
132.  Presented  by  J.  E.  Scripps. 


49  The  Martyrdom  of  St.  Andrew.  The  aged  saint,  naked 
except  for  a linen  cloth,  is  raised  in  the  center  on  a saltier 
cross  formed  of  the  trunks  of  trees,  to  which  he  is  fastened 
with  cords;  his  white  hair  and  beard  stream  loosely  in  the 
air  as  he  looks  up  to  the  sky,  where  cherubs  appear  with 
the  crown  and  palm  of  martyrdom;  beneath  are  execution- 
ers, two  of  whom  are  tightening  the  cords  that  bind  the 
martyr’s  feet;  on  the  left,  in  front,  is  a group  of  spectators, 
among  them  women  and  a weeping  boy;  on  the  right,  two 
soldiers  on  horseback  and  others  on  foot  with  lances. 
Painted  in  the  latest  manner  of  the  artist.  This  picture 
is  replete  with  power  and  pathos.  There  is  a tragic  reality 
in  the  whole  scene  rarely  surpassed  in  art. 


PAINTINGS  BY  THE  OLD  MASTERS 


39 


Canvas:  h.  51  in.,  1.  66  in.  From  the  collection  of  Sir  Philip 
Miles,  of  Leigh  Court,  Somersetshire,  England,  sold  in  1884. 
It  is  numbered  238  in  Curtis’s  Catalogue,  p.  210.  A replica,  a 
little  smaller  in  size,  is  in  the  royal  gallery  of  the  Prado,  in 
Madrid.  Presented  by  J.  E.  Scripps. 

CARLO  DOLCI  (1616-1686).  Late  Florentine  School.  He 
painted  heads  chiefly,  and  excelled  in  the  softness  and 
tranquility  with  which  he  expressed  the  character  of 
devotion. 

50  Head  of  St.  Mary  Magdalene. 

Canvas:  h.  16%  in.,  w.  13%  in.  From  the  collection  of  the 
late  Marchese  Caruana,  of  Florence.  Presented  by  J.  E. 
Scripps. 


SOLOMON  RUYSDAEL  (1616-1670).  Dutch  School.  Ruys- 
dael  much  resembles  Van  Goyen  in  subjects  and  style, 
his  pictures  consisting  of  rivers  and  canals  bordered 
with  houses  and  trees,  usually  willows.  He  was  inferior 
to  his  brother  (or  nephew),  Jacob,  in  force  of  coloring. 

51  A View  of  Dort,  Holland,  with  ferry  boat  and  figures. 
Foreground,  the  river  Maas;  at  the  right,  a chateau,  with 
road,  horses  and  wagon,  and  men  drawing  in  a net;  center, 
large  willows  overhanging  the  water.  Signed  and  dated 
1643. 

Canvas:  h.  39  in.,  1.  53%  in.  From  the  collection  of  Major 
Corbett-Winder.  A picture  answering  this  description  was 
sold  in  the  collection  of  Robert  Strange,  the  famous  engraver, 
in  1771.  Presented  by  J.  E.  Scripps. 

AART  VAN  DER  NEER  (1619-1692  [?]).  Dutch  School.  He 
excelled  particularly  in  canals  and  rivers,  lighted  by  the 
moon.  Few  other  painters  have  so  well  depicted  the 
effect  of  light  on  water.  His  pictures  are  highly 
esteemed. 

52  A River  Scene;  effect  of  morning  light. 

Wood:  h.  12%  in.,  1.  19%  in.  From  the  Corbett-Winder 
collection.  Exhibited  in  the  Royal  Academy  exhibition  of  the 
works  of  the  old  masters  in  1888.  Presented  by  J.  E.  Scripps. 

PHILIP  WOUVERMANS  (1619-1668).  Dutch  School.  In 
most  of  his  pictures  horses  are  a prominent  feature.  In 
the  course  of  a short  life  he  produced  nearly  800  works. 

53  Man  mounted  on  a white  horse,  observing  three  children 
at  play  at  the  foot  of  a tree. 


Wood:  h.  9%  in.,  1.  11%  in.  Presented  by  J.  E.  Scripps. 


40 


DETROIT  MUSEUM  OF  ART 


JACQUES  COURTOIS,  called  BORGOGNONE  (1621-1676). 
French  School,  Pupil  of  Albano  and  Guido.  He  devoted 
himself  to  battle  scenes,  which  he  painted  with  rare 
vigor.  While  at  the  height  of  his  popularity  his  wife 
died  suddenly,  and  he  was  accused  by  enemies  of  poison- 
ing her.  This  cruel  charge  led  him  to  abandon  society 
and  join  the  order  of  Jesuits. 

54  A Battle  Scene. 

Copper:  h.  16  in.,  1.  2214  in.  From  the  Duke  of  Hamilton’s 
collection.  Presented  by  J.  E.  Scripps. 


THE  VIRGIN  AND  CHILD  AND  ST.  JOHN 
By  Carlo  Maratti  (1625-1713)  Roman  School 

Gift  of  James  E.  Scripps,  Esq. 

CARLO  MARATTI  (1625-1713).  Roman  School;  pupil  of 
Andrea  Sacchi.  His  work  is  seen  in  many  of  the  altaT 
pieces  in  the  churches  at  Rome. 

55  The  Virgin  and  Child  and  St.  John.  The  Virgin  wearing  a 
green  veil,  holds  the  infant  Jesus  on  her  knee,  who  is 
attracted  by  the  child  John  at  the  left,  with  his  little 
cross  and  a scroll  bearing  the  words,  “Ecce  Agnus  Dei,” 
which  he  extends  to  the  infant  Savior. 

Copper:  h.  3414  in.,  w.  2614  in.  Formerly  the  property  of 
Prince  di  Gonzaga.  Presented  by  J.  E.  Scripps. 


PAINTINGS  BY  THE  OLD  MASTERS 


41 


JACOB  RUYSDAEL  (1625-1682).  Dutch  School;  pupil  of 
Solomon  Ruysdael.  He  stands  almost  unrivaled  as  a 
landscape  painter.  He  excelled  particularly  in  cascades 
and  waterfalls  and  rocky  scenery. 

56  A Woody  Landscape,  with  horseman  and  dog. 

Wood:  h.  15%  in.,  w.  13%  in.  Unauthenticated  and  prob- 
ably not  a genuine  Ruysdael.  Presented  by  J.  E.  Scripps. 


KAREL  DU  JARDIN  (1625  or  1630-1678).  Dutch  School; 
pupil  of  N.  Berchem.  His  landscapes  are  pleasing  and 
his  figures  and  animals  possess  all  the  truth  and  finish 
of  Paul  Potter’s  work.  His  pictures  are  scarce  and 
valuable. 

57  The  Return  of  the  Holy  Family  from  Egypt.  In  the  fore- 
ground is  a stream,  which  the  group,  consisting  of  Joseph, 
Mary,  and  the  young  Jesus,  an  ass,  and  three  sheep,  are 
beginning  to  ford.  The  ass,  to  the  right,  is  laden  with  a 
panier  filled  with  carpenters’  tools.  Joseph,  behind  it,  is 
bareheaded,  with  shaggy  hair  and  beard.  The  Virgin,  in 
the  center,  in  a blue  mantle,  points  upward  with  her  right 
hand  as  she  addresses  her  son,  who  appears  to  be  about 
five  or  six  years  old,  and  who  caresses  one  of  the  three 
sheep.  A mountainous  country  in  the  background.  Signed 
on  a stone  at  the  left,  K.  DV.  JARDIN  fe  1662. 

Canvas:  h.  24%  in.,  w.  20  in.  Two  similar  subjects  are 
described  in  Smith’s  Catalogue  Raisonne,  but  both  differ  from 
this  in  some  particulars.  From  the  collection  of  James  Saun- 
ders, Esq.,  of  Taplow  House,  near  Maidenhead,  England, 
where  it  was  seen  by  De  Waagen  and  mentioned  in  his 
Treasures  of  Art  in  Great  Britain.  Formerly  in  the  collection 
of  Count  Pourtales,  in  Paris.  Presented  by  J.  E.  Scripps. 

JAN  STEEN  (1626-1679).  Dutch  School;  pupil  of  Ostade 
and  Van  Goyen;  married  the  daughter  of  the  latter;  an 
extraordinary  genius,  but  unfortunately  given  to  dissi- 
pation. He  depicted  the  pleasures  of  eating  and  drink- 
ing, song,  card-playing  and  love-making  directly  from 
nature  and  with  rare  spirit  and  humor. 

58  Gamblers  Quarreling.  Interior  of  an  ale  house;  a violin 
player  standing  in  the  center  background,  laughing,  while 
two  men  in  front  are  indulging  in  a violent  quarrel;  one 
has  been  thrown  down  and  the  other  is  drawing  his  sword 
to  finish  his  prostrate  opponent.  Two  women  are  striving 
to  keep  them  apart,  while  three  men  sit  in  the  chimney 
enjoying  the  scene.  Two  others  are  wrestling  at  the  left. 
From  the  ceiling  hangs  a frame,  wreathed  with  grapevine 


42 


DETROIT  MUSEUM  OF  ART 


sprays,  and  upon  which  is  inscribed  “Prov.  cap.  20,  ver.  1.” 
(The  text  is,  “Wine  is  a mocker,  strong  drink  is  raging; 
and  whosoever  is  deceived  thereby  is  not  wise.”)  From  the 
frame  depends  a bell.  On  the  floor  are  a trictrac  board, 
cards  strewn  about,  broken  vessels,  etc.  Signed:  J.  Steen, 
the  J and  S forming  a monogram. 

Canvas:  h.  27*4  in.,  1.  34 y2  in.  Described  in  Smith’s  Cata- 
logue Raisonne,  Vol.  IV,  p.  25,  No.  80.  Sold  in  the  collection 
of  M.  Van  der  Pot  in  1808  for  500  florins.  Lately  in  the 
collection  of  Major  Corbett-Winder.  Exhibited  in  the  Royal 
Academy  exhibition  of  old  masters  in  1879.  Presented  by 
J.  E.  Scripps. 


LUCA  GIORDANO  (1632-1705).  Neapolitan  School;  pupil 
of  Ribera;  one  of  the  greatest  geniuses  in  the  history  of 
art,  but  one  who  made  ill  use  of  his  gifts.  With  the 
greatest  capabilities,  he  sacrificed  everything  to  a slight, 
rapid  style,  and  thus  produced  no  great  works. 

59  The  Nativity.  The  infant  Savior  lies  in  a manger  of 
straw,  and  from  his  body  emanates  all  the  light  with 
which  the  picture  is  illumined.  Over  him  stand  Joseph, 
Mary  and  another  female,  while  at  each  end  of  the  manger 
stand  two  cherubs,  stretching  their  necks  to  gain  a view 
of  the  holy  infant. 

Canvas:  h.  22%  in.,  1.  29%  in.  From  the  collection  of 
Hans  Stanley,  who  was  a Lord  of  the  British  Admiralty  from 
1757  to  1763,  and  in  1765  went  as  English  ambassador  extra- 
ordinary to  the  Empress  of  Russia.  Presented  by  J.  E. 
Scripps. 


WILLIAM  VAN  DER  VELDE,  THE  YOUNGER  (1633- 
1707).  Dutch  School;  pupil  of  his  father  and  of  Simon 
de  Vlieger.  He  is  recognized  as  the  greatest  marine 
painter  of  the  whole  Dutch  School. 

60  A Marine  View.  Right  foreground,  a low  sandy  beach, 
with  a yawl  boat  drawn  up  upon  it,  and  two  men  engaged 
with  the  boat.  In  the  middle  distance,  a man-of-war  at 
anchor,  with  her  bow  headed  out  to  sea.  To  the  left,  two 
sloop-rigged  fishing  smacks  at  anchor,  but  with  sails  set, 
the  latter  being  reflected  in  the  water.  Sea  gulls  flying 
about.  In  the  distance  numerous  fishing  boats  under  sail. 
Signed  in  the  lower  right  corner,  “W.  V.  V.’’ 

Wood:  h.  5%  in.,  1.  7%  in.  Sold  in  the  J.  E.  Fordham  col- 
lection in  1867  for  200  guineas  (over  $1,000).  Presented  by 
J.  E.  Scripps. 


PAINTINGS  BY  THE  OLD  MASTERS 


43 


ADRIAN  VAN  DER  VELDE  (1635  or  1636-1672).  Dutch 
School;  pupil  of  his  father,  Jan  Wynants,  and  Philip 
Wouvermans.  Almost  as  famous  as  a cattle  painter  as 
his  brother  William  was  as  a marine  artist. 

61  Landscape  with  Cattle.  A man  leading  a spotted  cow  and 
a goat  into  a stream.  A woman  riding  an  ass,  with  a dun 
cow,  a calf,  a sheep,  and  a dog  following  behind;  trees  and 
ruins  at  the  left  with  a sitting  figure;  hills  to  the  right 
with  a boy  driving  a cow. 

Canvas:  h.  15  in.,  1.  19%  in.  From  the  collection  of  C.  J. 
Knight,  F.  S.  A.,  of  London.  Not  an  authenticated  work  of 
the  master,  and  possibly  the  work  of  one  of  his  pupils.  Pre- 
sented by  J.  E.  Scripps. 


GERARD  BERKHEYDEN  (1638-1698).  Dutch  School; 
pupil  of  Franz  Hals.  Berkheyden  painted  street  scenes 
in  Holland  with  great  neatness  and  well  colored. 

62  The  Groote  Kerk,  or  Cathedral  of  St.  Bavon,  at  Haarlem, 
seen  from  the  corner  of  the  great  market  square  near  the 
town  hall,  which  stands  to  the  left  of  the  picture.  Numer- 
ous figures  are  seen  in  the  square.  Signed  in  lower  left 
corner. 

Canvas:  h.  31%  in.,  w.  16%  in.  From  the  Corbett-Winder 
collection.  Presented  by  J.  E.  Scripps. 


WILLIAM  DE  HEU.SCH  (1638-1712).  Dutch  School;  pupil 
of  Jan  Both.  A pleasing  painter  of  Italian  scenery. 

63  An  Italian  Landscape,  with  peasants  and  animals  on  a road. 

Wood:  h.  17  in.,  w.  14%  in.  From  the  Corbett-Winder  col- 
lection. Presented  by  J.  E.  Scripps. 


PETER  DE  HOOGH  (1630-1681).  His  best  works  were 
painted  between  1658  and  1670.  His  favorite  subjects 
were  the  interiors  of  Dutch  apartments,  with  figures 
habited  in  the  dress  of  his  time,  in  which  he  represented 
with  wonderful  success  the  sun  shining  through  a win- 
dow, by  which  part  of  the  room  is  brilliantly  illuminated. 
He  is  considered  the  greatest  of  all  painters  of  sunlight. 
As  a colorist  he  ranks  among  the  best  of  the  Dutch 
School.  His  pictures  are  greatly  esteemed. 

64  A Dutch  Interior.  In  the  foreground  a woman  sits  nursing 
an  infant  closely  wrapped  in  a blanket.  A wicker  cradle 
stands  by  her  side  with  the  artist’s  signature,  “P.  d. 
Hoogh,”  on  the  rocker.  Her  foot  rests  on  a foot  warmer, 


44 


DETROIT  MUSEUM  OF  ART 


COPYRIGHT  BY  DETROIT  PUBLISHING  CO. 

A DUTCH  INTERIOR 


By  Peter  de  Hooch  ( 1630-1681)  Dutch  School 

Presented  by  James  E.  Scripps,  Esq. 


and  a spaniel  dog  stands  at  her  feet.  She  wears  a bright 
red  petticoat.  In  the  background,  to  the  left,  is  an  open 
stairway  with  a window  through  which  the  sun  shines 
in  brightly.  At  the  right  is  an  alcove  containing  a bed. 

Canvas:  h.  31 % in.,  w.  23%  in.  From  the  collection  of 
Count  Montgermont,  of  Paris.  Presented  by  J.  E.  Scripps. 


PAINTINGS  BY  THE  OLD  MASTERS 


45 


QUIRENUS  BREKELENKAMP  (1648-1668).  Dutch  School; 
pupil  of  Gerard  Dow.  He  painted  Dutch  interiors  with 
figures.  His  works  are  found  in  the  choicest  collections 
and  are  greatly  esteemed. 

65  A Vegetable  Stall,  with  cabbages,  carrots  and  cucumbers. 
An  old  man  with  spectacles  is  counting  change,  for  which 
a pretty  Dutch  girl,  with  a pail  filled  with  vegetables,  and 
who  is  holding  a flower  to  her  nose,  is  waiting.  A fash- 
ionably dressed  boy  in  the  background  is  watching  the 
motions  of  the  old  man. 

Wood:  h.  18%  in.,  w.  14%  in.  From  the  Corbett-Winder 
collection.  Considered  a fine  example  of  Brekelenkamp’s  work. 
Presented  by  J.  E.  Scripps. 


PHILIP  ROOS,  called  ROSA  DA  TIVOLI  (1657-1705). 
Dutch  School.  A masterly  painter  of  landscapes  with 
cattle,  horses,  etc. 

66  A Military  Encampment.  At  the  right  officers’  tents;  an 
officer  giving  directions  to  a negro  courier  mounted  on  a 
white  horse.  Two  other  white  horses  resting.  Another 
officer  directing  the  disposition  of  a lot  of  sheep  which 
have  been  brought  in  by  foragers. 

Canvas:  h.  5 0 in.,  1.  64  in.  Presented  by  J.  E.  Scripps. 

PETER  VAN  DER  WERFF  (1665-1718).  Dutch  School; 
pupil  of  his  celebrated  brother  Adrian  Van  der  Werff. 
While  not  equalling  his  brother  in  this  respect  his  pic- 
tures are  very  highly  finished.  Adrian’s  naked  figures 
have  the  appearance  of  ivory,  so  polished  are  his  sur- 
faces. 

67  The  Magdalene.  She  kneels  to  the  left  with  her  hands 
folded  on  her  breast,  reading  from  a scroll,  which  lies 
spread  upon  a rock  before  her. 

Wood:  h.  14%  in.,  w.  10%  in.  From  the  Corbett-Winder 
collection.  Presented  by  J.  E.  Scripps. 


GIOVANNI  PAOLO  PANNINI  (1691-1764).  Late  Italian 
School.  Famous  for  his  views  of  Roman  ruins  enlivened 
with  figures. 

68  A ruined  Triumphal  Arch  dedicated  to  the  Emperor  Ves- 
pasian; with  figures. 

Canvas:  h.  29  in.,  w.  24%  in.  From  the  Corbett-Winder  col- 
lection. Presented  by  J.  E.  Scripps. 


COPYRIGHT  BY  DETROIT  PUBLISHING  CO. 


THE  MAGDALENE 

By  Peter  Van  Der  Werff  (1665-1718)  Dutch  School 
Gift  of  James  E.  Scripps,  Esq. 


PAINTINGS  BY  THE  OLD  MASTERS 


47 


ANTONIO  CANALE,  called  CANALETTO  (1697-1768). 
Late  Venetian  School.  Excelled  in  the  canal  scenery  of 
his  native  city.  The  most  successful  Italian  painter 
of  the  18th  century. 

69  View  of  Venice  from  St.  Mark’s  quay.  To  the  right,  the 
palace  of  the  Doges;  left,  church  of  St.  Maria  della  Salute. 

Canvas:  h.  45  in.,  1.  46%  in.  Presented  by  J.  E.  Scripps. 

FRANCIS  BOUCHER  (1703-1770).  French  School.  Prin- 
cipal painter  to  Louis  XV.  His  pictures  are  highly 
decorative. 

70  Venus  ordering  of  Vulcan  arms  for  Aeneas.  In  the  fore- 
ground, at  the  left,  Vulcan  sits  on  a rock  beside  an  anvil, 
holding  a shield,  with  his  face  directed  towards  Venus 
sitting  in  the  clouds  above  to  the  right.  She  is  sur- 
rounded by  cupids  and  her  chariot  is  seen  behind.  At  the 
lower  right  corner  cyclops  are  seen  engaged  at  their  forge. 

JEneas  was  the  son  of  Venus  by  Anchises.  He  was  one 
of  the  principal  figures  in  the  defense  of  Troy,  and  after 
the  destruction  of  that  city  by  the  Greeks  founded  a 
colony  in  Italy  which  later  became  Rome.  Vulcan,  the 
blacksmith  of  the  gods,  was  the  husband  of  Venus,  and 
had  his  home  in  the  subterranean  regions,  where  he  was 
employed  in  forging  thunderbolts  for  Jupiter. 

Canvas:  h.  24%  in.,  w.  20  in.  From  the  collection  of  the 
late  Wm.  Henry  Hurlbut,  of  New  York.  This  picture  is  very 
similar  in  treatment  to  a large  picture  in  the  Louvre  at  Paris, 
in  which  the  figures  are  life  size.  The  latter  is  dated  1732, 
and  this  work  is  no  doubt  of  the  same  period,  if  not  indeed 
a study  for  the  larger  picture.  Presented  by  J.  E.  Scripps. 

CHRISTIAN  WILLIAM  ERNEST  DIETRICH,  or  DIETRICY 
(1712-1742).  Late  German  School,  A successful  imitator 
of  the  works  of  the  older  Dutch  masters,  and  a brilliant 
colorist.  There  is  a large  collection  of  his  works  in  the 
royal  gallery  at  Dresden. 

71  The  Expulsion  of  Hagar.  Hagar  and  Ishmael  are  seen 
departing  at  the  left,  the  latter  with  his  bow  and  arrows. 
Behind  them  stands  Abraham,  with  turbaned  head  and 
staff  in  hand.  Sarah  occupies  the  center  of  the  picture, 
standing  in  the  door  of  a cottage,  holding  aside  a portier, 
while  Isaac,  in  alarm  at  Ishmael’s  defying  attitude,  clings 
to  her.  A white  dog  barks  at  the  departing  couple,  and  a 
maid  with  a pitcher,  at  the  right,  observes  the  scene,  while 
another  looks  on  from  an  open  casement.  Signed  and 
dated  1767. 

Copper:  h.  13%  in.,  1.  19%  in.  Presented  by  J.  E.  Scripps. 


QUEEN  PHILLIPA  INTERCEDING  FOR  THE  LIVES  OF  THE  BURGHERS  OF  CALAIS 
By  Benjamin  West  (1732-1820)  Gift  of  James  E,  Scripps,  Esq. 


PAINTINGS  BY  THE  OLD  MASTERS 


49 


FRANCESCO  GUARDI  (1712-1793).  Late  Venetian  School; 
pupil  of  Caneletto.  Excelled  in  architectural  views  of 
Venice. 

72  View  on  the  Grand  Canal,  Venice. 

Canvas:  h.  14%  in.,  1.  19%  in.  From  the  collection  of  T.  J. 
Ireland,  M.  P.,  of  Ousden  Hall,  Suffolk,  England.  Presented 
by  J.  E.  Scripps. 

BENJAMIN  WEST  (1738-1820).  English  School;  native  of 
Pennsylvania;  studied  in  Italy;  patronized  by  George 
III.;  succeeded  Sir  Joshua  Reynolds  as  President  of  the 
Royal  Academy;  buried  in  St.  Paul’s  Cathedral.  Famous 
as  a historical  painter. 

73  Queen  Philippa,  interceding  for  the  lives  of  the  burghers 
of  Calais.  At  the  right,  Queen  Philippa,  wife  of  Edward  III., 
of  England,  attended  by  two  maidens,  pleading  with  her 
husband,  who  appears  in  full  armor,  with  battle  axe  in  his 
left  hand;  by  him  stands  a boy  holding  the  gauntlet  which 
he  has  removed  from  his  right  hand,  and  behind  him  the 
Black  Prince,  his  son,  between  two  other  armed  knights; 
at  the  left  stand  six  burghers,  with  ropes  about  their  necks 
and  their  hands  pinioned  behind  them,  guarded  by  armed 
soldiers.  Calais  had  surrendered  to  the  English  after  a 
long  siege,  and  the  keys  of  the  city  had  been  brought  to  the 
victorious  Edward  by  its  six  most  noble  burghers.  The 
surrender  occurred  in  1347.  The  picture  is  signed  and 
dated  1788. 

Canvas:  h.  39%  in.,  1.  52%  in.  Considered  an  admirable 
example  of  the  work  of  Benjamin  West. 

74  Portrait  of  the  donor,  Mr.  James  E.  Scripps,  by  Robert  J. 
Wickenden.  Gift  of  the  Executors  of  the  James  E.  Scripps 
Estate. 


MRS.  HARRIET  J.  SCRIPPS’  GIFTS 


The  paintings  which  follow  in  this  catalogue  were  presented 
to  the  Detroit  Museum  of  Art  in  1909,  by  Mrs.  Harriet  J. 
Scripps  in  memory  of  her  husband,  the  late  James  E.  Scripps. 

Among  them  are  a number  of  important  examples  by  mas- 
ters not  represented  in  the  James  E.  Scripps  collection  and 
rarely  found  outside  the  cabinets  of  the  public  and  private 
galleries  of  Europe. 

75  The  Crucifixion. 

Wood:  arched,  h.,  35  in.,  w.,  21  in.  Painted  on  gesso  or  a 
preparation  of  plaster  anciently  used  as  a groundwork  for  the 
colors.  Probably  a small  altar-piece  of  the  15th  century  or 
earlier.  Has  been  attributed  to  Perugino  (1446-1524).  From 
the  Stowe  House  Sale,  1848. 


KESSEiL  (Jan  Van).  Old  Dutch  School.  Born  at  Antwerp, 
1626.  Pupil  of  Jan  Breughel.  Master  of  the  Guild,  1644. 
Died,  1679.  He  imitated  the  highly  finished  style  of  Jan 
Breughel  and  painted  small  landscapes,  birds,  reptiles, 
etc.,  with  extraordinary  neatness  and  precision. 

76  Water.  A small  lake,  with  otters  and  various  kinds  of  fish 
and  eels  on  the  bank  nearest  the  spectator.  On  the  oppo- 
site side  a cave  and  grotesque  animals. 

Copper:  h.  8 in.,  1.  liy2  in.  From  the  collection  of  Major 
Corbett-Winder,  of  Vaynor  Park,  Berriew,  Montgomeryshire, 
Wales.  Sold  in  London  in  1889. 


LUNDENS  (Gerrit).  Old  Dutch  School.  A Dutch  genre 
painter  who  flourished  about  1652-73.  His  works  are 
found  in  the  Dresden  and  other  European  galleries.  His 
work  much  resembles  that  of  Peter  de  Hoogh,  one  of  the 
greatest  masters  in  the  treatment  of  light. 

77  Housewife  Cleaning  Fish.  The  cabbage  in  this  picture 
greatly  resembles  one  in  a picture  in  the  Brussels  Museum, 
by  Quiryn  Brekelenkamp,  a Dutch  painter  who  died  in 
1668,  while  the  general  character  of  the  work  is  very  much 
the  same. 

Panel:  h.  17  in.,  1-  28  in.  Signed  in  left  lower  corner. 
From  the  Ehrich  sale,  1895. 


PAINTINGS  BY  THE  OLD  MASTERS 


51 


MURILLO  (Eartolome  Esteban).  Born  at  Seville,  Spain, 
in  1G18.  Founded  the  academy  at  Seville  in  1660.  Died 
1682.  He  shares  with  Velasquez  the  highest  position  in 
the  Spanish  School. 

78  St.  Francis  of  Assisi.  St.  Francis  was  born  at  Assisi,  Italy, 
in  1182.  He  founded  the  famous  Franciscan  Order  about 
1210.  He  visited  Palestine  as  a crusader  in  1220  and  died 
in  1226. 

Canvas:  h.  22%  in.,  w.  18%  in.  Purchased  of  Charles  Sedel- 
meyer,  Paris,  1897.  From  the  collection  of  H.  A.  J.  Munro, 
sold  in  London,  1878.  No.  300  in  C.  B.  Curtis’s  catalogut  of 
the  works  of  Murillo. 


NEEFS  (Peter).  Old  Dutch  School.  Peter  Neefs,  the 
elder,  was  probably  a native  of  Antwerp,  where  he  died 
in  1656  at  an  advanced  age.  He  was  a pupil  of  Hendrik 
Van  Steenwyck  the  elder,  and,  like  him,  excelled  as  a 
painter  of  church  interiors.  He  was  famous  for  his 
perspectives  and  distribution  of  light.  His  pictures  are 
highly  finished  and  are  usually  enriched  with  figures  by 
Franz  Francken,  Teniers  the  elder,  or  Jan  Breughel. 

Peter  Neefs,  the  younger,  was  born  in  Antwerp  in 
1620,  and  died  there  after  1675.  He  painted  the  same 
subjects  as  his  father,  and  with  almost  equal  excellence. 

79  Interior  of  a Gothic  Cathedral,  with  More  than  40  Carefully 
Painted  Figures. 

Panel:  h.  10%  in.,  1.  14%  in.  From  the  Corbett-Winder 
collection,  sold  in  London,  1889.  The  excellence  of  the  figures 
would  indicate  a work  by  the  elder  Neefs. 


NEER  (Aart  Van  Der.)  Old  Dutch  School.  Born  in  Am- 
sterdam, 1619.  Died  there  1683.  Eminent  for  his  moon- 
light effects. 

80  Moonlight  Scene  in  Amsterdam.  A broad  canal  bordered 
on  either  side  by  a row  of  large  trees,  and  a street  lined 
with  tall  gabled  houses,  the  gables  of  which,  with  lights 
in  the  windows,  peep  out  over  the  trees.  Moon  reflected 
in  the  water. 

Panel:  h.  8 in.,  1.  12  in.  From  the  F.  Ricketts  collection, 
London. 


POEL  (Egbert  Van  Der).  Old  Dutch  School.  Born  at 
Delft  in  1621.  Died  at  Rotterdam,  1664.  He  treated 
conflagrations  and  the  effects  of  artificial  light  with  great 
ability. 


52 


DETROIT  MUSEUM  OF  ART 


81  The  Oyster  Stall.  An  oyster  stall  lighted  by  a large  lan- 
tern. Moon  rising  at  the  right.  Signed  at  lower  left 
corner. 

Panel:  h.  10%  in.,  w.  10%  in.  Prom  the  Corbett-Winder 
collection,  sold  in  London  in  1889. 


UNKNOWN  DUTCH  ARTIST  of  the  17th  Century. 

82  A Fortress,  River  and  Party  Landing  Boats.  Perhaps  a 
view  on  the  Rhine. 

Panel:  h.  16  in.,  1.  21%  in.  Indistinctly  signed  and  dated 
169 — , the  last  figure  being  undecipherable.  Resembles  the 
work  of  Jan  Griffer,  a Dutch  landscape  painter,  1656-1718. 
Purchased  in  Dresden,  1887. 


WILSON  (Richard)  R.  A.  Born  in  Wales  1713.  Died  1782. 
One  of  the  original  members  of  the  Royal  Academy,  and 
regarded  as  one  of  the  greatest  of  English  landscape 
painters.  Several  of  his  works  are  in  the  National  gal- 
lery. 

83  A Classical  Landscape  and  Ruins. 

Canvas:  h.  14  in.,  1.  21  in.  Signed.  From  the  collection  of 
Gilbert  Craig,  Esq.,  Edinburgh.  Lamoriniere  sale,  1899. 


WOUWERMANS  (Philip).  Old  Dutch  School.  Born  in 
Haarlem,  1619.  Pupil  of  Wynants.  Excelled  especially 
in  his  figures  and  horses.  Was  an  industrious  painter, 
nearly  800  of  his  works  being  known.  Died  in  Haarlem, 
1668. 

84  Repose  of  the  Hawking  Party. 

Panel:  h.  19  in.,  1.  25%  in.  Signed  Ph.  W.  in  lower  left  cor- 
ner. Prom  the  Ehrich  sale,  1895. 


WYNANTS  (Jan).  Old  Dutch  School.  Born  in  Haarlem, 
1615.  Died  after  1679.  Painter  of  landscapes  notable 
for  their  truthfulness,  fine  aeriel  perspective,  silvery 
toned  backgrounds  and  careful  execution  of  details.  The 
figures  and  animals  in  his  pictures  were  usually  sup- 
plied by  other  eminent  painters  of  his  day,  as  Adrian 
Van  de  Velde,  Lingelbach,  Wouwermans  and  others. 

85  A Landscape  with  Figures.  At  the  left  a sandy  road  with 
a girl  and  dog,  a man  and  woman,  the  latter  carrying  a 
basket  on  her  head,  and  a few  sheep.  A cottage  peeping 
over  the  hill.  Center,  a tree  overhanging  a brook  in  which 


PAINTINGS  BY  THE  OLD  MASTERS 


53 


a number  of  ducks  are  swimming,  a river  and  distant  hills 
to  the  right. 

Panel:  h.  15%  in.,  1.  19%  in.  Purchased  from  Charles  Sedel- 
meyer,  1900. 


BERCK-HEYDE  (Job).  Old  Dutch  School.  Born  at  Haar- 
lem, 1630.  Pupil  of  Franz  Hals.  Master  of  the  Guild, 
1654.  Died  at  Haarlem,  1693.  Landscape,  architectural 
and  genre  painter. 

86  The  Farm  Well. 

Panel:  h.  15%  in.,  1.  19  in.  From  the  Louis  R.  Ehrich  col- 
lection, sold  in  New  York,  January,  1895. 


CORREGGIO  (Antonio  Allegri).  Old  Italian  School.  Born 
at  Correggio,  Italy,  1494.  Studied  at  Ferrara.  Influenced 
by  Francesco  Francia.  His  most  important  wrorks  are 
the  frescoes  in  the  dome  of  the  cathedral  at  Parma,  fin- 
ished in  1530.  Died  at  Correggio,  1534.  He  is  noted  for 
the  life  and  animation  of  his  pictures,  his  skill  in  fore- 
shortening and  his  successful  chiaroscuro.  The  pathetic 
story  will  be  recalled  of  how  Correggio,  being  in  great 
destitution,  was  wantonly  paid  by  the  monks  of  a cer- 
tain convent  for  whom  he  had  executed  a painting,  in 
copper  coin,  the  labor  of  carrying  which  home  to  his 
needy  family  brought  on  a fever  which  ended  his  life  at 
the  early  age  of  40. 

87  The  Virgin  and  Child.  The  Virgin  sits  at  the  left  under  a 
tree.  A basket  containing  a pair  of  shears  is  at  her  side. 
The  infant  Jesus  sits  in  her  lap,  facing  to  the  left,  and  her 
right  suports  his  right  arm,  the  hands  being  raised  in  the 
attitude  of  blessing.  To  the  right  St.  Joseph  is  seen  en- 
gaged in  planing  a board.  In  both  mother  and  child  the 
nimbus  is  lacking. 

Panel:  h.  12%  in.,  w.  9%  in.  This  picture  is  an  exact 
replica  of  the  similar  subject  in  the  National  Gallery,  Lon- 
don, even  to  size.  It  was  in  the  possession  of  Dr.  Hinde, 
lecturer  at  University  College  Hospital,  London,  for  more 
than  fifty  years,  and  was  given  as  a wedding  present  to  Mrs. 
Hinde  by  one  of  the  Colnaghi  family  who  brought  it  from 
Florence.  Sir  Charles  Eastlake,  president  of  the  Royal 
Academy,  and  English  editor  of  Kugler’s  Handbook  of  Paint- 
ing of  the  Italian  School,  who  was  a frequent  visitor  at  Dr. 
Hinde’s,  believed  it  to  be  a genuine  work  of  Correggio,  or  at 
least  painted  in  his  studio. 


54 


DETROIT  MUSEUM  OF  ART 


COURTOIS  (Jacques)  called  Borgognone.  Old  Italian 
School.  Born  in  France,  1621.  Served  for  some  time  in 
the  French  army,  making  numerous  sketches  of  battles, 
a branch  of  art  to  which  he  subsequently  devoted  him- 
self. Being  cruelly  charged  with  poisoning  his  wife,  he 
abandoned  the  world  and  became  a member  of  the  Jesuit 
order.  Died,  1676.  His  finest  works  are  in  the  Pitti 
Palace  at  Florence.  Unfortunately  many  of  his  pictures 
have  blackened  since  they  were  painted. 

88  A Battle  Scene. 

Canvas:  h.  lS1^  in.,  1.  22  in.  From  the  collection  of  T.  J. 

Ireland,  Esq.,  M.  P.  Sold  in  London,  1889. 


DOW  (Gerard)  attributed  to.  Born  at  Leyden,  1613;  pupil 
of  Rembrandt,  whose  coloring  and  chiaroscuro  he  ac- 
quired. His  most  famous  work  is  the  “Dropsical  Woman” 
in  the  Louvre.  He  died  in  1675. 

89  The  Annunciation.  Purchased  of  Charles  Sedelmeyer, 
Paris,  1897,  who  said  of  it:  “I  think  this  picture  can  be 
ascribed  to  Gerard  Dow  when  he  worked  in  the  studio  of 
Rembrandt,  although  it  differs  from  the  artist’s  works  of 
his  later  period.  It  is  not  so  highly  finished  in  details  and 
is  much  more  vigorous  in  effect  and  richer  in  tone.  It  has 
evidently  been  executed  under  Rembrandt’s  influence,  and 
there  are  some  paintings  of  Gerard  Dow’s  early  time 
which  show  the  same  qualities.  The  color  of  the  dress  of 
the  Virgin  is  most  characteristic  of  Dow.  Dr.  Bode  and 
Dr.  Julius  Meyer  of  Berlin  think  also  that  it  is  possible 
that  Dow  has  painted  this  picture.  It  was  in  the  Reimer 
collection  and  afterwards  in  that  of  Herr  van  Kauffman, 
Berlin.” 

Panel:  h.  21  y2  in.,  w.  17 XA  in. 


INDEX  OF  ARTISTS 


Page. 

Allegri,  Antonio  (Correggio) 24 

Albano,  Francesco  27 


Bagnacavallo  

Baldovinetti,  Alessio  

Barbieri,  Giovanni  Francesco.  . . . 

Bellini,  Giovanni  

Berck-Heyde,  Job  

Berkhej^den,  Gerard  

Borgognone,  (Jacques  Courtois).. 

Bos  or  Bosche,  Jerome 

Both,  Jan 

Boucher,  Francois  

Breklenkamp,  Quirenus 

Breughel,  Jan  

Byzantine  School  


22 

12 

30 

16 


40,  54 
. . 21 


47 


10 


Canaletto,  (Antonio  Canale) 47 

Carracci,  Annibale  24 

Cima,  Giovanni  20 

Conegliano  20 

Correggio,  Antonio  Allegri 24,53 

Courtois,  Jacques  40,  54 

Cuyp,  Albert  33 


Page. 


Masaccio . 14 

Massys,  Quentin  17,  18 


Murillo,  Bartolome  Esteban 

36,  37,  38,  51 


Neefs,  Peter  . . 51 

Neer,  Aart  VanDer 39,  51 


Pannini,  Giovanni  Paolo 45 

Paolino,  Fra 9 

Patinier,  Joachim 24 

Perugino  50 

Pinturicchio,  Bernardo  . . . 17 

Poel,  Egbert  VanDer 51 

Poelemburg,  Cornelius  28 


Ramenghi.  Bartolommeo 


Rembrandt.  Van  Ryn 33 

Reni,  Guido  25 

Ribera,  Joseph 28 

Roos,  Philip 45 

Rubens,  Peter  Paul 25 

Ruysdael,  Solomon  39 

Ruysdael,  Jacob  41 


De  Vos,  Cornelius.  27 

Dietrich,  C.  W.  E 47 

Dole),  Carlo  39 

Dow,  Gerard • 54 

Garofalo  22 

Gellee,  Claude  (Lorraine) 32 

Giordano,  Luca  42 

Giotto  di  Bondone 12 

Goes,  Hugo  Van  Der 14 

Goyen,  Jan  Van 31 

Griffer,  Jan  52 

Guardi,  Francesco  . 49 

Guercino  30 

Guidi,  Tommaso  (Masaccio) 14 

Guido  Reni  25 

Heusch,  William  De 43 

Hobbema,  Minderhout  36 

Hoogh,  Peter  De 43 

Jardin,  Karel  Du 41 

Kessel,  Jan  Van 50 

LeNain,  Mathieu  30 

Leonardo'Da  Vinci 17 

Lippi,  Fra  Filippo 14 

Lorraine,  Claude  32 

Lundens,  Gerrit 50 

Maratti,  Carlo  10 


Sacchi,  Andrea  „ 31 

Saft-Leven,  Herman  3 4 

Salvi,  Giovanni  Batista 33 

Sano  di  Pietro 15 

Sarto,  Andrea  del 23 

Sassoferrato  33 

Spagnoletto,  (Joseph  Ribera) 28 

Steen,  Jan  41 

Steenwyck,  Henry  29 

Teniers,  David  (the  younger) 35 

Tisio,  Benvenuto,  (Garofalo) 22 

Titian  21,  22 


VanDer  Neer,  Aart 39, 

VanDer  Velde,  William.  . . . 

VanDer  Velde.  Adrian 

VanDer  Werff,  Peter 

VanGoyen,  Jan  

Vanucci,  Andrea  (del  Sarto) 

VanVliet,  Henry 

Vlieger,  Simon  De 

Werff,  Peter  VanDer 

West,  Benjamin  

Weyden,  Roger  VanDer 

Wilson.  Richard 

Witte,  Emanuel  De 

Wouvermans,  Philip  39, 

Wynants,  Jan  


51 

42 

43 
45 


31 

45 

49 


12 


THE  CHAS.  F.  MAY  CO.,  PRINTERS 
DETROIT 


ETTY  CENTER  LIBRARY 

N 560  A5  1910  ^ 
c Detroit  Institute  of 
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